Search

Collection Tour

MFA Images: Weapons & War

  • Explore this subject through images from across the MFA’s collection.

    Start Tour
  • Departure of the 7th Regiment, N.Y.S.M., April 19, 1861

    1861
    George Hayward (American (born in England), about 1800–1872(?) American)

    Description

    Provenance

    Maxim Karolik, Newport; Gift to MFA December 13, 1951

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik (Civil War) 0961

    Dimensions

    Sheet: 36.7 x 51.3 cm (14 7/16 x 20 3/16 in.)

    Accession Number

    51.2785

    Medium or Technique

    Graphite pencil, transparent and opaque watercolor on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Kozuka with design of deer and moon

    Japanese
    Edo period
    About 1850
    Kano Natsuo (Japanese, 1828–1898 Japanese), School Natsuo School (Japanese Japanese)

    Description

    Signed

    Heian Natsuo, with a kao 平安夏雄(花押)

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Catalogue Raisonné

    134

    Dimensions

    Overall: 9.7 x 1.5 x 0.5 cm (3 13/16 x 9/16 x 3/16 in.)

    Accession Number

    11.23814

    Medium or Technique

    Main material: shakudo; surface treatment: nanako-ji; other metals: gold and silver; decorative technique: iroe takazogan

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • The National Lancers with the Reviewing Officers on Boston Common

    1837
    Fitz Henry Lane (American, 1804–1865), After Charles Hubbard (American, 1801–1876 American), Printed by Thomas Moore Lithography, Boston (active 1835–1841)

    Description

    Provenance

    Mr. & Mrs. Maxim Karolik by whom given to MFA. (Accession Date: January 19, 1939)

    Credit Line

    The M. and M. Karolik Collection of Eighteenth-Century American Arts

    Details

    Catalogue Raisonné

    Peters, p. 288 pl. 101

    Dimensions

    Image: 37 x 52 cm (14 9/16 x 20 1/2 in.) Sheet: 48.2 x 58.5 cm (19 x 23 1/16 in.)

    Accession Number

    39.257

    Medium or Technique

    Lithograph, hand-colored

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Prints

    More Info
  • Poperinghe: Two Soldiers

    1918
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Signed, l.l.: John S. Sargent Poperinghe—1918

    Signed

    Lower left: John S. Sargent

    Provenance

    Purchased from the artist, 1921

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Dimensions

    Sheet: 34 x 53.2 cm (13 3/8 x 20 15/16 in.)

    Accession Number

    21.140

    Medium or Technique

    Translucent watercolor, with touches of opaque watercolor, over graphite on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Sword

    Italic
    Bronze Age, Late Bronze Age
    about 1300–1200 B.C.

    Description

    Northern Italic type. There is a flanged tang for insertion in the hilt. Six rivets remain at the flaring portion of the blade. In Central Europe this type of sword is termed Sprockhoff 1 (a). Excellent preservation, with yellow (cleaned) Tiber patina.

    Provenance

    By date unknown: said to have been found near Bologna with objects 61.375, 61.377, 61.378, and 61.379; by 1960: with Münzen und Medaillen A.G., Malzgasse 25, Basel, Switzerland; May 10, 1961: purchased by MFA from Münzen und Medaillen A.G. for $ 1400 - (this is the total price of 61.375-61.379).

    Credit Line

    Classical Department Purchase Fund in memory of Miss Grace Nelson

    Details

    Catalogue Raisonné

    Greek, Etruscan, & Roman Bronzes (MFA), no. 533; Sculpture in Stone and Bronze (MFA), p. 126 (additional published references).

    Dimensions

    Length: 64 cm (25 3/16 in.)

    Accession Number

    61.376

    Medium or Technique

    Bronze

    Not On View

    Collections

    The Ancient World

    Classifications

    Warfare, hunting, & fishing, Swords, Daggers, Knives

    More Info
  • Kozuka with design of many monkeys

    Japanese
    Edo period
    mid-18th century
    Tetsugendo Naoshige (Japanese, died in 1780 Japanese), School Tetsugendo School (Japanese Japanese)

    Description

    Signed

    Tetsugendo Shoraku, with seal Toshiyuki 鉄元堂正楽 印 敏行

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Catalogue Raisonné

    93

    Dimensions

    Overall: 9.7 x 1.4 x 0.4 cm (3 13/16 x 9/16 x 3/16 in.)

    Accession Number

    11.23826a-b

    Medium or Technique

    Main material: iron; other metals: copper, shibuichi and gold; decorative technique: iroe takazogan

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Running Fight, Sioux and Crows

    1837–74
    Alfred Jacob Miller (American, 1810–1874)

    Description

    Inscription

    Inscribed upper right in pen and ink: Running Fight / Sioux & Crows

    Provenance

    Maxim Karolik, Newport; Gift to MFA October 20, 1955

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik (1962) cat. 549

    Dimensions

    Sheet: 20.3 x 29.6 cm (8 x 11 5/8 in.)

    Accession Number

    55.777

    Medium or Technique

    Watercolor over black chalk with gum arabic additions on brown paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Kozuka with design of carp and weeds

    Japanese
    Edo period
    early to mid-19th century
    Ishiguro Masayoshi (Japanese, 1775–1862), School Ishiguro School (Japanese)

    Description

    Signed

    Ishiguro Masayoshi, with a kao 石黒政美(花押)

    Provenance

    1890, Charles Goddard Weld Collection; bequest to MFA, Boston, December 7, 1911.

    Credit Line

    Charles Goddard Weld Collection

    Details

    Catalogue Raisonné

    99

    Dimensions

    Overall: 9.8 x 1.4 x 0.6 cm (3 7/8 x 9/16 x 1/4 in.)

    Accession Number

    11.5217a

    Medium or Technique

    Main material: shakudo; surface treatment: nanako-ji; other metals: gold and shibuichi; decorative technique: iroe takazogan

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Kozuka with design of Okame mask on hanger

    Japanese
    Edo period
    Late 18th–early 19th century
    Hamano Naoyuki (Japanese, born in 1754), School Hamano School (Japanese)

    Description

    Signed

    Hamano Naoyuki, with a kao 濱野直随(花押)

    Provenance

    1890, Charles Goddard Weld Collection; bequest to MFA, Boston, December 7, 1911.

    Credit Line

    Charles Goddard Weld Collection

    Details

    Catalogue Raisonné

    59

    Dimensions

    Overall: 9.7 x 1.4 x 0.6 cm (3 13/16 x 9/16 x 1/4 in.)

    Accession Number

    11.5224a

    Medium or Technique

    Main material: shibuichi; surface treatment: chirimen-ji; other metals: gold, silver and shakudo; decorative technique: iroe takazogan

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Sheridan's Ride

    1871
    Thomas Buchanan Read (American, 1822–1872 American)

    Description

    Inscription

    Lower left: T. Buchanan Read/Rome 1871.

    Provenance

    The artist; Samuel Baker Rindge; Frederick Hastings Rindge; descended in Rindge family; to MFA, 1983, gift of the heirs of Frederick Hastings Rindge and May K. Rindge.

    Credit Line

    Gift of the heirs of Frederick Hastings Rindge and May K. Rindge

    Details

    Dimensions

    73.34 x 60.32 cm (28 7/8 x 23 3/4 in.)

    Accession Number

    1983.594

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Kozuka with design of millet-heads

    Japanese
    Edo period
    mid-19th century
    Araki Tomei (Japanese, 1817–1870), School Ichijô School (Japanese)

    Description

    Signed

    Issai Tomei, with a kao 一斎東明(花押)

    Provenance

    1890, Charles Goddard Weld Collection; bequest to MFA, Boston, December 7, 1911.

    Credit Line

    Charles Goddard Weld Collection

    Details

    Catalogue Raisonné

    128

    Dimensions

    Overall: 9.8 x 1.4 x 0.7 cm (3 7/8 x 9/16 x 1/4 in.)

    Accession Number

    11.5225a

    Medium or Technique

    Main material: shakudo; surface treatment: nanako-ji; other metals: gold, copper and shakudo; decorative technique: iroe takazogan

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Rape of the Sabine Women

    1963
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    Painted when he was eighty-two, this is Picasso’s last major statement about the horrors of war, perhaps inspired by the Cuban missile crisis. Here, Picasso transforms a familiar subject from the art of the past-the story of early Romans who, suffering a shortage of marriageable women, invited the neighboring Sabines to Rome and then carried off all their young women. Against a sunny background of blue sky and green fields, the overlapping forms of grotesquely distorted figures are compressed into the foreground space, the horses and soldiers trampling a woman and her child.

    Inscription

    Upper right: Picasso; Reverse: 4.1.63. / 10. / 11. / 12. / 13. / 14. / 15. / 16. / 17. / 18. / 19. / 20. / 21. / 22. / 23. / 25. / 26. / 28. / 29. / 31. / 2.2.63. / 7. (in irregular columns)

    Provenance

    Probably sold by the artist to the Galerie Louise Leiris, Paris [see note 1]; 1964, sold by the Galerie Leiris to M. Knoedler and Co., New York (stock no. A8624); 1964, sold by Knoedler to the MFA. (Accession Date: May 13, 1964) NOTES: [1] It was included in the exhibition "Picasso Peintures 1962-1963" (Galerie Louise Leiris, Paris, January 15 - February 15, 1964), cat. no. 17.

    Credit Line

    Juliana Cheney Edwards Collection, Tompkins Collection—Arthur Gordon Tompkins Fund, and Fanny P. Mason Fund in memory of Alice Thevin

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    195.3 x 131.1 cm (76 7/8 x 51 5/8 in.)

    Accession Number

    64.709

    Medium or Technique

    Oil on canvas

    On View

    Charlotte F. and Irving W. Rabb Gallery (Gallery 155)

    Collections

    Contemporary Art, Europe

    Classifications

    Paintings

    More Info
  • Mounting for a sword of the tantô type with decoration of autumn grasses

    Japanese
    Edo period–Meiji era
    mid-19th century
    By collaborator Tanaka Toshiyoshi (Japanese, dates unknown Japanese)

    Description

    Signed

    Kôbun Toshiyoshi sei; Sô Toshiyoshi sei 耕文寿良生;叟寿良生

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    Overall: 44.1 cm (17 3/8 in.) Other (curvature): 3.7 cm (1 7/16 in.)

    Accession Number

    11.11252a

    Medium or Technique

    Hilt: white string ray skin (Himantura Sp); Scabbard: lacquered Honoki wood (Magnolia obovata) ; Fittings: gold, silver, shakudô, and suaka; Tsunagi (wooden blade): Honoki wood (Magnolia Obovata)

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Two swords

    Japanese
    late Edo period
    early to mid-19th century
    Ishiguro Masaaki (Japanese, about 1815–1875 Japanese)

    Description

    Provenance

    1890, Charles Goddard Weld Collection; bequest to MFA, Boston, December 7, 1911.

    Credit Line

    Charles Goddard Weld Collection

    Details

    Dimensions

    Overall: 41.6 cm (16 3/8 in.)

    Accession Number

    11.5059

    Medium or Technique

    Blade: tempered steel Hilt: ray skin wrapped with black thread Hilt ornament: Gold repousse and applied metal sheet Metal fittings: polished gold; high relief; inlay, and applied metal sheet Sheath: snakeskin wrapped diagonally on black lacquer

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Sword of the wakizashi type with mounting

    Japanese
    Nanbokuchô and Edo periods
    mid 14th century and 19th century
    Inscribed by Mihara no jû Morimasa (Japanese, active mid 14th century Japanese), Inscribed by Takeshiba Toshiteru (Japanese, active Edo period Japanese)

    Place of Creation, Bingo, Japan

    Description

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    length: 75 cm (29 1/2 in.)

    Accession Number

    11.11291

    Medium or Technique

    Steel with hilt in white ray skin, wrapped with white thread (tsumami-maki); hilt ornaments (menuki), fittings (fuchi, kashira, kozuka, kogai, tsuba) in copper-gold alloy (shakudô) repousse and punched, with applied gold sheet; sheath in gold aventurine lacquer with "sprinkled" (makie) designs

    On View

    Walter Ames Compton, MD Gallery (Gallery 280)

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • On the War Path

    1837–74
    Alfred Jacob Miller (American, 1810–1874)

    Description

    Inscription

    Inscribed lower right in watercolor: Miller

    Provenance

    Maxim Karolik, Newport; Gift to MFA April 11, 1957

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Not in Karolik (1962) cat.

    Dimensions

    Sheet: 11.2 x 17.6 cm (4 7/16 x 6 15/16 in.)

    Accession Number

    57.325

    Medium or Technique

    Watercolor over graphite with gum arabic additions on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Kozuka with design of a boat on the Yodo River

    Japanese
    Edo period
    early to mid-19th century
    School Hosono School (Japanese)

    Description

    Signed

    Ichijudo Akimichi 一寿堂明道

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    Overall: 9.9 x 1.5 x 0.4 cm (3 7/8 x 9/16 x 3/16 in.)

    Accession Number

    11.23754a

    Medium or Technique

    Main material: shibuichi; surface treatment: migaki-ji; other metals: gold, silver, and copper; decorative technique: iroe hirazogan

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Kozuka with design of crows

    Japanese
    Edo period
    mid-19th century
    Yanagawa Naomasa (Japanese, 1692–1757), School Otsuki School (Japanese Japanese)

    Description

    Signed

    Ikkosai Atsuoki tsukuru [Made by Ikkosai Atsuoki] 一行斎篤興造

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    Overall: 9.8 x 1.5 x 0.3 cm (3 7/8 x 9/16 x 1/8 in.)

    Accession Number

    11.23755a

    Medium or Technique

    Main material: silver; surface treatment: migaki-ji; other metals: gold and shakudo; decorative technique: iroe takazogan, iroe hirazogan

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Kozuka with design of tiger and bamboo

    Japanese
    Edo period
    early to mid-19th century
    Murakami Jochiku (Japanese, died about 1790–1800 Japanese), School Murakami School (Japanese Japanese)

    Description

    Signed

    [Jochiku, with a kao] 如竹(花押)

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    Overall: 9.6 x 1.5 x 0.7 cm (3 3/4 x 9/16 x 1/4 in.)

    Accession Number

    11.23773a

    Medium or Technique

    Main material: iron; other metals: gold, shakudo and copper; decorative technique: iroe takazogan

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Kozuka with design of Nio and temple attendant

    Japanese
    Edo period
    early to mid-19th century
    Yokoya Sômin V (Japanese, born in 1795), School Yokoya School (Japanese)

    Description

    Signed

    Kiryûsai Sômin, with a kao 起龍斎宗*(玉+民)(花押)

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 - d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Catalogue Raisonné

    87

    Dimensions

    Overall: 9.8 x 1.5 x 0.5 cm (3 7/8 x 9/16 x 3/16 in.)

    Accession Number

    11.23829a

    Medium or Technique

    Main material: shakudo; surface treatment: nanako-ji; other metals: silver, shakudo, shibuichi and copper; decorative technique: iroe takazogan and katakiri-bori

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Sword, Pistols, and Teacup

    1872 or after
    James Reeve Stuart (American, 1834–1915 American)

    Description

    Because so little is known of Stuart’s life or patronage, one can only speculate on his motives for selecting the particular objects that appear in this still life. Stuart has depicted a porcelain teacup, saucer, and spoon; a pair of early eighteenth-century Queen Anne flintlock holster pistols; a sword, and a brown leather pistol case set against a dark brown background. He may have chosen them for their opposite meanings and associations: the delicate feminine teacup represents the domestic sphere and evokes images of genteel social occasions, while the guns and sword signal the masculine arenas of fighting and hunting. It is also possible that the objects were family heirlooms belonging either to Stuart, who came from a wealthy and aristocratic Southern family, or to a client. In this way, the still life would become a kind of portrait, an individual enacted through his or her possessions.

    Stuart attended the University of Virginia in 1852 and enrolled at Harvard in 1853 but did not graduate. During his time in Cambridge, he frequently visited the Boston studio of Joseph Ames, a specialist in portraits. In the late 1850s, he traveled to Germany to study art, becoming only the third American to enter the Royal Academy of Art in Munich when he enrolled in 1860. The Civil War depleted his family’s resources and Stuart was forced to return to the United States. He opened his first studio in Atlanta, moved to Memphis and then to St. Louis before settling in Madison, Wisconsin, in 1872. He taught at Milwaukee College and the University of Wisconsin, but earned his living mainly from portrait painting. Since Stuart’s work has not been systematically studied, the role of still life painting in his career is as yet unknown. Though he lived some distance from the centers of American artistic life on the East coast, the selection of objects and realistic style of this canvas suggests his awareness of contemporary currents in American still-life painting, particularly the tabletop still lifes of William Harnett [2000.2; 1999.257], who in the later nineteenth century often depicted valuable man-made objects. Such compositions reflect the Victorian vogue for collecting small objects, bric-a-brac, and antiques.

    This text was adapted from Karyn Esielonis, et al, “Still-Life Painting in the Museum of Fine Arts, Boston” (Boston, Museum of Fine Arts, 1994)

    Inscription

    Lower right: Jas. R. Stuart/Madison, W[isconsin]

    Provenance

    The artist, probably until 1915; with John Levy, New York, 1944; to Maxim Karolik, Newport, R.I., 1944; to MFA, 1948, gift of Martha C. (Mrs. Maxim) Karolik.

    Credit Line

    Bequest of Martha C. Karolik for the M. and M. Karolik Collection of American Paintings, 1815-1865

    Details

    Dimensions

    51.75 x 61.59 cm (20 3/8 x 24 1/4 in.)

    Accession Number

    48.478

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Small sword with original scabbard and waistbelt

    about 1735
    Jacob Hurd (American, 1702 or 1703–1758)

    Object Place, Boston, Massachusetts

    Description

    The sword has a silver hilt with turned tip; flattened spherical pommel; and twisted wire-wound grip with plain ferrel. The knuckle guard and pas d’anes are simply curved and slightly molded. The quillion ends in a bulb form; the bivalve shell guard has molded edges. The plain, unmarked tapering steel blade is hollow ground and triangular in section. The tooled red (Morroccan?) leather scabbard, waist belt, and frog are original.

    Inscription

    Engraved "R.H." on one counter guard, "1735" on the other. Scabbard mount engraved "R. Hazen Of / Haverhill A:D./1735" and "Cost £13= 15= 9.

    Markings

    On shell of hilt within an ellipse: "Hurd" Ada Mark E123

    Provenance

    Col. Richard Hazen (1696 – 1754) and Sarah Clement of Newbury, m. 1719; to their daughter Elizabeth Hazen (1734/35 – 1808), m. Joseph Little (1730 – 1792) of Newbury, Massachussetts, in 1757; to their daughter Lucretia Little (1759 – 1851) and her second cousin Silas Little (1754 – 1845), m. 1786. By descent to their son Joseph Little (b. 1799) and Elizabeth Moody (b. 1799) of Newbury, m. 1821; to their son Joseph Little (b. 1833) and Sarah C. Hale (b. 1840), m. 1861. By descent to their son Joseph Danforth Little (b. 1868) of Nutley, New Jersey, who placed the sword on loan to the Metropolitan Museum of Art from 1926 to 1940. Purchased sometime thereafter by Mark Bortman (1896 – 1967); by descent to his daughter Jane Bortman Larus, who made it a gift to the Museum in 1984.

    Credit Line

    Gift of Jane Bortman Larus in honor of Kathryn C. Buhler and in recognition of her warm friendship and association with Mark Bortman and Jane B. Larus

    Details

    Dimensions

    77.47 cm (30 1/2 in.)

    Accession Number

    1984.109.1-3

    Medium or Technique

    Silver, steel, leather

    On View

    Carolyn A. and Peter S. Lynch Gallery (Gallery 132)

    Collections

    Americas

    Classifications

    Silver

    More Info
  • Entrance of the Fifty-Fifth Massachusetts Regiment (Colored) into Charleston, South Carolina, Feb. 21, 1865

    1865
    Thomas Nast (American (born in Germany), 1840–1902)

    Description

    Inscription

    LR scratched: Th. Nast

    Provenance

    Maxim Karolik, Newport; Gift to MFA November 12, 1959

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik (Civil War) 0984

    Dimensions

    Sheet: 36.2 x 54.0 cm (14 1/4 x 21 1/4 in.)

    Accession Number

    59.940

    Medium or Technique

    Oil over brush and brown wash, with graphite underdrawing, on heavy wove paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Officer's sword

    about 1805–12
    Thomas Ellicott Warner (American, 1780–1828), Andrew Ellicott Warner (American, 1786–1870)

    Object Place, Baltimore, Maryland, United States

    Description

    This large sword has an eagle-head handle. The silver scabbard is engraved with a Greek fret border, overlapping eagle feathers at the end, and two passages of bundled lightning bolts between oak leaves. Two applied bands of holly leaves hold silver rings from which to hang the sword. The eagle’s neck feathers on the handle are carved ivory, and the head is cast. A scroll handle, with a female head on the outside, emanates from the bird’s beak. Each side of the steel blade is blued and etched in gilt. One side is inscribed with the motto “Liberty and Independence” and an arm wielding a sword. The other side is inscribed with “1783” and the motto “E PLURIBUS UNUM” and is decorated with an American eagle.

    Inscription

    Inscribed "Liberty and Independence" on one side of blade and " E PLURIBUS UNUM "/ " 1783 " on the other

    Markings

    "T [pellet] & A [pellet] E [pellet] WARNER" within rectangle struck on underside of cross guard, and with an eagle's head mark in a rectangle

    Provenance

    Probably made for Peter Van Deventer (1755 – 1837) or his son Christopher (1788 – 1838); by descent in the family; purchased from Firestone and Parson, Boston, in 1973.

    Credit Line

    William N. Banks Foundation

    Details

    Dimensions

    Overall: 99.1 x 2 x 14 cm, 1.83 kg (39 x 13/16 x 5 1/2 in., 4.03 lb.)

    Accession Number

    1973.481a-b

    Medium or Technique

    Silver, ivory, steel

    On View

    Kristin and Roger Servison Gallery (Gallery 133)

    Collections

    Americas

    Classifications

    Silver

    More Info
  • US Army Cavalry Regiment with Horses Standing on Giant Cedar

    around 1900
    Unidentified artist, American, 19th century

    Description

    Inscription

    Verso, in gray ink, u.l.: USA Cavalry Regiment

    Provenance

    Charles Isaacs, Malvern, PA; gift to MFA, December 2002.

    Credit Line

    Gift of Charles Isaacs and Carol Nigro

    Details

    Dimensions

    Sheet: 15.2 x 20.3 cm (6 x 8 in.)

    Accession Number

    2002.811

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Photography

    Classifications

    Photographs

    More Info
  • Sergeant William Russell, 5th Battalion, Royal Artiller

    1856
    Robert Howlett (English, 1831–1858 English)

    Description

    Robert Howlett was one of Britain’s earliest professional photographers. His wide-ranging practice included portraiture, landscape photography, and studies for painters. Commissioned in 1856 by Queen Victoria to make portraits of the heroes of the Crimean War, he posed Sergeant William Russell standing between the massive wheels of an artillery wagon, his arm draped over the cannon. In his left hand, Russell holds upright his rifle and a flag, probably his company colors. His face looks stricken but proud, and he wears a hero’s medal on his chest. The manly realism and sophisticated composition make this image more than an individual portrait: Howlett has created an icon of the British Empire’s military strength and the bravery of its men.

    Provenance

    Robert Hershkowitz Limited, Sussex, England; purchased November 1992.

    Credit Line

    Sophie M. Friedman Fund

    Details

    Dimensions

    Image/Sheet: 23.5 x 18.6 cm (9 1/4 x 7 5/16 in.) Mount: 43.6 x 31.6 cm (17 3/16 x 12 7/16 in.)

    Accession Number

    1992.513

    Medium or Technique

    Photograph, albumen print from wet collodion negative

    Not On View

    Collections

    Europe, Photography

    Classifications

    Photographs

    More Info
  • Sword

    Japanese
    Late 16th century
    Artist Seki (Japanese Japanese)

    Object Place, Japan

    Description

    Provenance

    1890, Charles Goddard Weld Collection; bequest to MFA, Boston, December 7, 1911.

    Credit Line

    Charles Goddard Weld Collection

    Details

    Dimensions

    .816 L.

    Accession Number

    11.5092a-b

    Medium or Technique

    Metal (non-specific)

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Kozuka with design of Li Bai supported by two attendants

    Japanese
    Meiji era
    About 1870–89
    Miyata Nobuhisa (Japanese, 1849–1926), School Ichijô School (Japanese)

    Description

    Inscription

    Poem by Du Fu on Li Bai 李白一斗詩百篇 長安市上酒家眠 天子呼来不上舟 自称臣是酒中仙

    Signed

    Ryujusai Nobuhisa saku, with seal Nobuhisa [Made by Ryujusai Nobuhisa] 柳寿斎信久作 印 信久

    Provenance

    1890, Charles Goddard Weld Collection; bequest to MFA, Boston, December 7, 1911.

    Credit Line

    Charles Goddard Weld Collection

    Details

    Catalogue Raisonné

    127

    Dimensions

    Overall: 9.8 x 1.6 x 0.8 cm (3 7/8 x 5/8 x 5/16 in.)

    Accession Number

    11.5184

    Medium or Technique

    Main material: gold; surface treatment: migaki-ji; decorative technique: takabori

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info
  • Night Attack on the Sanjô Palace, from the Illustrated Scrolls of the Events of the Heiji Era (Heiji monogatari emaki)

    Japanese
    Kamakura period
    second half of the 13th century

    Description

    Provenance

    Prior to 1878 preserved in the collection of the Honda family; 1878-1886 acquired by Ernest Francisco Fenollosa; 1889 purchased by Charles Goddard Weld from Ernest Fenollosa; 1889 placed on loan to the MFA; 1911 bequeathed to the MFA by Charles Goddard Weld.

    Credit Line

    Fenollosa-Weld Collection

    Details

    Dimensions

    Overall, including endpapers and jiku: 45.9 x 774.5 x 7.6 cm (18 1/16 x 304 15/16 x 3 in.) Image: 41.3 x 700.3 cm (16 1/4 x 275 11/16 in.)

    Accession Number

    11.4000

    Medium or Technique

    Handscroll; ink and color on paper

    Not On View

    Collections

    Asia

    Classifications

    Paintings

    More Info
  • Cavalry Charge

    1902
    Jean Baptiste Edouard Detaille (French, 1848–1912)

    Description

    Inscription

    Lower Left: EDOUARD DETAILLE / 1902

    Provenance

    Collection of Eben D. Jordan, Boston, MA; by 1924, by inheritance to Robert Jordan, Boston, MA; 1924, gift of Robert Jordan to the MFA. (Accession Date: April 17, 1924)

    Credit Line

    Gift of Robert Jordan from the collection of Eben D. Jordan

    Details

    Dimensions

    148.9 x 121 cm (58 5/8 x 47 5/8 in.)

    Accession Number

    24.218

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Captives

    Evariste Vital Luminais (French, 1822–1896)

    Description

    Inscription

    Lower left: EV. Luminais

    Provenance

    February 23, 1891, Charles Noel estate sale, Hôtel Drouot, Paris, lot 31, sold for 2,650 francs. Eben Dyer Jordan (b. 1857 - d. 1916), Boston; by inheritance to Dorothy Jordan Robinson, Boston; 1924, gift of Dorothy Jordan Robinson to the MFA. (Accession Date: April 17, 1924)

    Credit Line

    Gift of Dorothy Jordan Robinson, from the Collection of Eben D. Jordan

    Details

    Dimensions

    56 x 46.3 cm (22 1/16 x 18 1/4 in.)

    Accession Number

    24.230

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Portrait of H. R. H. the Prince of Wales at a Review, Attended by Lord Heathfield, General Turner, Col. Bloomfield, and Baron Eben; Col. Quinton in the Distance

    George IV When Prince of Wales

    1809
    John Singleton Copley (American, 1738–1815)

    Description

    John Singleton Copley undertook this monumental portrait of the Prince of Wales, the future King George IV, in 1804, without a commission, hoping it would secure him future royal patronage. The artist was in his mid-sixties and entering a final, tumultuous phase of his life and career. His recent contributions to annual exhibitions had been met with mixed reviews, and he remained locked in battle with his artistic peers over the management and policies of the Royal Academy, which he felt had been manipulated to his disadvantage. Such concerns were not purely theoretical, as Copley faced real economic difficulties in these years, anxiously jumping from one project to another in an attempt to bolster his finances and secure his fame.
    With just such an objective, around 1804 Copley presented a sketch for a proposed equestrian portrait to the Prince of Wales, who then promised to sit for him. Scheduling proved difficult, and the prince was not available to pose until 1808. In April of 1809, as the deadline for submission to the annual academy exhibition approached, the portrait was still unfinished. Copley requested an extension in the name of the prince, but his appeal was promptly denied, further alienating Copley from his fellow academicians. In August 1809, nearly five years after first conceiving of the portrait, Copley finally declared the work complete.

    Copley had once defied convention by creating a large-scale history painting about a contemporary event of personal rather than national significance (his 1778 Watson and the Shark [89.481]), but the format he chose for the prince’s portrait is deeply traditional and conservative. It looks back almost two centuries to examples of royal equestrian portraits by such admired masters as Anthony van Dyck and Peter Paul Rubens. There were contemporary comparisons to be made as well, including William Beechey’s recent portrait King George III Reviewing the Prince of Wales’ Regiment of Light Dragoons, Attended by the Prince of Wales, the Duke of York and Other General Officers (about 1794, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts). All of these depictions feature the royal subject on horseback, front and center, reviewing some military action. Copley’s composition follows this long tradition and is replete with the customary indications of the prince’s exalted status. Copley presents the Prince of Wales gesturing into the distance toward a cavalry regiment named in his honor, the 10th Prince of Wales’s Own Regiment of Light Dragoons. As indicated in the painting’s full title, the prince is joined by four military leaders, including Captain Baron von Eben of the 10th Light Dragoons; Lieutenant General Lord Francis Augustus Elliott, Second Baron Heathfield; Lieutenant Colonel Benjamin Bloomfield of the Royal Horse Artillery; and Brigadier General Tomkyns Hilgrove Turner. Colonel George Augustus Quinton (or Quentin) can be seen in the middle distance, at the head of the hussar troop that appears between the prince’s horse’s legs.

    Copley displayed the painting at the 1810 academy annual, where it received unflattering reviews. One author described it as a large canvas “covered with what is not very likely to mislead the public taste.” Comparing the prince to Jonathan Swift’s Gulliver, this critic complained that the officers participating in cavalry maneuvers in the background were “too diminutive,” making “the Prince look like a Brobdignag general at a Lilliputian review.” [1] Copley had long ago become accustomed to deflecting harsh criticism, but the painting’s surface bears evidence that the artist himself was not entirely satisfied. There are several passages that have been repainted, all apparently during Copley’s lifetime, some clearly after the 1810 exhibition. The prince’s proper right foot was originally lower; his sword was moved almost six inches over and up (the actual sword remains in the Royal Collection at Windsor Castle, Berkshire, United Kingdom). Beyond these smaller changes, which were likely made before exhibition, there were more significant changes to the prince’s uniform. Close observation reveals that the prince’s cocked bicorne hat once had a different feather plume that leaned to the left; the hat itself may have had a different shape entirely, resembling the columnar “mirleton” hat visible on Baron von Eben’s head in the background. The blue riband, or sash, of the Order of the Garter is lightly painted over the uniform underneath. It is unclear if this was done to suggest the fineness of the silk, or if it was in fact added later. Whichever happened, it is clear that the star of the Order of the Garter, depicting a heraldic shield of St. George’s Cross encircled by a garter, was moved. Most visibly notable are the changes to the epaulettes, the corded fringe decorations on the prince’s shoulders. These were painted out, presumably by Copley, in order to update the uniform after the use of the gold epaulettes was abolished in June of 1811, to be replaced by the single gold cord aiguillette worn on the right shoulder, as now seen in the portrait. [2]

    Despite his great efforts, Copley was unsuccessful in securing royal patronage and this portrait remained unsold during his lifetime. It stayed with Copley’s son, who served three times as Lord Chancellor of Great Britain and was named Lord Lyndhurst in 1827. At the 1864 sale of Lord Lyndhurst’s collection, another member of the artist’s family acquired it, eventually bequeathing the portrait to the MFA in 1925. For all its frustrations and failures, the painting remains a tribute to Copley’s ambition. In the last years of his life, in poor health and poorer spirits, he nonetheless challenged himself to create a grand royal portrait in the high manner of master painters like van Dyck and Rubens.

    Notes
    1. Quoted in Jules David Prown, John Singleton Copley, vol. 2 (Cambridge, Mass.: Harvard University Press for the National Gallery of Art, 1966), 379.
    2. Christopher Bryant to Karen Quinn, January 21, 2011, curatorial files, Department of Art of the Americas, Museum of Fine Arts, Boston.

    Cody Hartley

    Provenance

    1809, the artist; 1815, by descent to the artist's son, Lord Lyndhurst, London; March 5, 1864, Lyndhurst Sale, Christie's, London, lot 88 to Cox acting as agent for the granddaughter of the artist, Martha Babcock Amory (1812-1880), Boston; 1880, by descent to her daughter, Susan Greene Dexter, Boston; 1925, bequest of Susan Greene Dexter to the MFA. (Accession Date: March 24, 1925)

    Credit Line

    Bequest of Susan Greene Dexter in memory of Charles and Martha Babcock Amory

    Details

    Dimensions

    372.11 x 318.45 cm (146 1/2 x 125 3/8 in.)

    Accession Number

    25.98

    Medium or Technique

    Oil on canvas

    On View

    Howard Cox Lobby ( 130.2)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Execution of the Emperor Maximilian

    1867
    Edouard Manet (French, 1832–1883)

    Description

    In 1867, Maximilian, emperor of Mexico, was executed with two of his generals by order of the opposing leader, Benito Juárez. The Parisian press reacted with horror against the rebel troops in Mexico and against Napoleon III in France; Napoleon had installed the Austrian Maximilian on the Mexican throne in 1864, but later withdrew support for his regime. Breaking with tradition, Manet represented the contemporary event on the grand scale usually reserved for scenes from ancient history or myth. This unfinished canvas is the first of several versions.

    Provenance

    1883, probably passed by descent from the artist to his widow, Suzanne Leenhoff Manet (b. 1830 - d. 1906), Asnières, France [see note 1]; given by Mme. Manet to her son, Léon Koëlla Leenhoff (b. 1852 - d. 1927), Paris [see note 2]; 1899, sold by Mr. Koëlla Leenhoff to Ambroise Vollard (b. 1867 - d. 1939), Paris; July 1, 1909, sold by Vollard to Frank Gair Macomber (b. 1849 - d. 1941), Boston [see note 3]; 1930, gift of Mr. and Mrs. Frank Gair Macomber to the MFA. (Accession Date: May 1, 1930) NOTES: [1] The provenance given here (to 1899) is provided by Adolphe Tabarant, "Manet et ses oeuvres" (Paris, 1947), p. 176. [2] Manet married Suzanne Leenhoff in 1863. Her illegitimate son, Léon, born in 1852, was almost certainly Manet's child. He inherited Manet's estate after his mother's death. [3] The sale to Macomber is recorded in Vollard's stock book on July 1, 1909; it was shipped to Boston on September 16, 1909 (Bibliothèque des Musées Nationaux, Fonds Vollard, MS 421 [5,4] f. 134 and MS 421 [4,13] f. 19). Additionally, in a letter from Vollard to Macomber (September 11, 1909), the dealer discusses the latter's payment for the "sketch of the Execution of Maximilian, which you purchased from me." According to notes in the MFA object file (about 1939, taken by Charles C. Cunningham), Mr. Macomber said that he purchased the painting in Paris upon the advice of the painter Mary Cassatt, after she had taken him to see it at "Kelekian's shop." Whether Kelekian played a role in the transaction has not been determined. Correspondence between the MFA and Vollard, dating to September and October 1909, indicates that Vollard had been responsible for the sale and shipment of the painting.

    Credit Line

    Gift of Mr. and Mrs. Frank Gair Macomber

    Details

    Dimensions

    195.9 x 259.7 cm (77 1/8 x 102 1/4 in.)

    Accession Number

    30.444

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • War Ground

    1863
    Alfred Jacob Miller (American, 1810–1874)

    Description

    Inscription

    Lower right, on rock: AJMiller. [AJM in monogram]

    Provenance

    The artist; private collection, Baltimore; with Victor Spark, New York, 1946; to Maxim Karolik, Newport, R.I., 1946; to MFA, 1948, gift of Maxim Karolik.

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Paintings, 1815–1865

    Details

    Dimensions

    73.34 x 91.44 cm (28 7/8 x 36 in.)

    Accession Number

    48.454

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • The Boston Massacre

    The Bloody Massacre

    1770
    Paul Revere, Jr. (American, 1734–1818), Christian Remick (American, 1726–after 1783)

    Description

    Inscription

    L. r. in black ink: Cold by Christ[n.] Remick

    Provenance

    Marshall; Watson Grant Cutter; Frank Bartlett Cutter and Henry Orville Cutter; Watson Grant Cutter; gift 1967

    Credit Line

    Gift of Watson Grant Cutter

    Details

    Dimensions

    Framed: 36.8 x 33 x 2.9 cm (14 1/2 x 13 x 1 1/8 in.) Overall: 36.2 x 33cm (14 1/4 x 13in.) Other (Sight; Sight measurement of print): 26 x 21.9cm (10 1/4 x 8 5/8in.)

    Accession Number

    67.1165

    Medium or Technique

    Engraving, hand-colored with watercolor and gold pigment by Christian Remick

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Prints

    More Info
  • Pitcher (oinochoe) with battle of the Greeks and Amazons

    Greek, South Italian
    Early Hellenistic Period
    about 320–310 B.C.
    The Helios Group

    Place of Manufacture, Apulia, Italy

    Description

    Principal design: Battle of Greeks and Amazons. In center an Amazon and a Greek, mounted on white horses; an Amazon prostrate on the ground.
    The handle has female heads in relief at the mouth and base. Both modeled heads are glazed back, the lip is undecorated, and the grooved foot has a tall, broad stem.

    ITALIAN VASE PAINTING in ITALY, # 66 - (89.260)
    Oinochoe (shape 1)
    Attributed to the Helios Group
    about 320-310 B.C.
    Battle of Greeks and Amazons. In the center, back to back, an Amazon and a Greek are mounted on rearing white horses. The Amazon wears a short chiton, embades, a sleeved tunic (red with white spots), a belt with white dots, and a yellow Phrygian cap. Holding a spear in her right hand, she lunges at a Greek standing at the left who holds a spear in his right hand and a shield on his left arm. The shield is turned with the interior toward the viewer, so that the white porpax and antilabe are visible. He wears a yellow Phyrgian helmet with a red crest and two plumes, a chlamys, a yellow cuirass with pteryges, and yellow greaves; on the ground between his feet is an Amazon’s cap, with the opening turned toward the viewer. A second Amazon is prostrate on the ground at the right, about to be run through by the mounted Greek, who raises a spear in his right hand, its upper shaft lost in the ornament on the shoulder. The Greek wears a short chiton, a chlamys, a yellow Phrygian helment without crest or plumes, and a white cuirass. The fallen Amazon wears a short chiton, yellow Phrygian cap, shoes, and red trousers with white spots. She holds a white pelta, like the one lying on the dotted groundline at left, with lacy designs in dilute glaze (a central floral framed by tendrils). Her hatchet has fallen on the ground by her side. Floating in the field at far left and center top are two rosettes; a plant grows at lower left.
    A dense complex of palmettes and scrolling tendrils covers the back of the vase. On the neck are white rays beneath a band of white wave-pattern framed by stripes. There is a band of rosettes with white-tipped petals on the shoulder. The groundline consists of linked maeanders to right.
    The vases of the Helios Group, all oinochoai, are by late followers of the Baltimore Painter. Compare the Amazonomachy on Leipzig T 956 (RVAp, II, p. 932, no. 28/124). The Boston vase is particularly close to the White Sakkos Painter.

    Provenance

    By 1889: with Pio Marinangeli (said to be from Puglie?); March 1889: purchased by R. Lanciani from Pio Marinangeli; purchased by MFA from R. Lanciani, 1889 There is a problem with this provenance. Registrar's Register seemed to give the provenance as Lanciani and the vase falls within the group purchased from Marinangeli. Are we sure it is a Bigelow gift as the credit line and Robinson vase catalogue indicated? The Bigelow credit line and provenance of said to be from Ruvo were carried on from the Robinson catalogue into the South Italian vase catalogue.

    Credit Line

    Gift of H. J. Bigelow

    Details

    Catalogue Raisonné

    Vase-Painting in Italy (MFA), no. 066.

    Dimensions

    Height: 45.5 cm (17 15/16 in.); diameter: 18.3 cm (7 3/16 in.)

    Accession Number

    89.260

    Medium or Technique

    Ceramic, Red Figure

    Not On View

    Collections

    Europe, The Ancient World

    Classifications

    Vessels

    More Info
  • Battle Scene with Nadir Shah on Horseback

    Persian
    Afsharid Period
    mid-18th century
    Possibly by Muhammad Ali ibn Abd al-Bayg ibn Ali Quli Jabbadar (Iranian, mid-18th century Iranian)

    Object Place, Isfahan, Iran

    Description

    Provenance

    By 1912, Victor Goloubew (b. 1879 - d. 1945), Paris [see note 1]; 1914, sold by Goloubew through M. Meyer-Riefstahl to the MFA for $76,999.81 (total price for 14.532-700). (Accession Date: June 4, 1914) NOTES: [1] Victor Goloubew was born in Russia but lived in Paris by the time of this acquisition. He formed this collection of Persian and Indian miniature paintings and exhibited it at the Musée des Arts Décoratifs in Paris from 1912 to 1914 (Paull, Florence Virginia. "The Goloubew Collection of Persian and Indian Paintings." Museum of Fine Arts Bulletin. Vol. XIII. No. 74. (February 1915) 1-16).

    Credit Line

    Francis Bartlett Donation of 1912 and Picture Fund

    Details

    Dimensions

    Overall: 22.7 x 16.7 cm (8 15/16 x 6 9/16 in.)

    Accession Number

    14.646

    Medium or Technique

    Opaque watercolor and gold on paper

    Not On View

    Collections

    Asia

    Classifications

    Paintings

    More Info
  • The Great Battle at the Uji River (Ujikawa ôgassen)

    Japanese
    Edo period
    about 1839–41 (Tenpô 10–12)
    Artist Utagawa Kuniyoshi (Japanese, 1797–1861), Publisher Ezakiya Tatsuzô (Japanese)

    Object Place

    Description

    Triptych: 17.3209.12 (left), 17.3209.13 (center), 17.3209.14 (right)

    Signed

    Ichiyûsai Kuniyoshi ga (on each sheet) 一勇斎国芳画

    Markings

    Censor's seal: kiwame 改印: 極

    Credit Line

    Denman Waldo Ross Collection

    Details

    Catalogue Raisonné

    Robinson, Kuniyoshi: The Warrior-Prints (1982), list #T62

    Dimensions

    Vertical ôban triptych; 36.7 x 76.5 cm (14 7/16 x 30 1/8 in.)

    Accession Number

    17.3209.12-4

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Chinese and Japanese Troops in a Great Battle at Gaiping (Nisshin ryôgun Gaihei daigekisen no zu)

    Japanese
    Meiji era
    1895 (Meiji 28),February
    Artist Nakagawa (Japanese, active 1895 Japanese), Publisher Sekiguchi Masajirô (Japanese)

    Object Place

    Description

    Triptych: 21.1540 (right), 21.1541 (center), 21.1542 (left)

    MFA impressions: 21.1540-2, 2000.423a-c, RES.23.250-2

    Signed

    Jûgunsha Nakagawa ga

    Markings

    Artist's seal: Nakagawa ga in

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 – d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Catalogue Raisonné

    Okamoto, Impressions of the Front (1983), #60

    Dimensions

    Vertical ôban triptych

    Accession Number

    21.1540-2

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Napoleonic Campaigns: Battle of Ahensberg

    undated
    Artist Jacques-François Swebach (French, 1769–1823 French)

    Description

    Provenance

    Frederick S. Whitwell; acquired December 1935

    Credit Line

    Anonymous gift

    Details

    Dimensions

    Sheet: 31.9 x 47.2 cm (12 9/16 x 18 9/16 in.)

    Accession Number

    35.1988

    Medium or Technique

    Brush and brown wash over pen and black ink on cream antique laid paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Napoleonic Campaigns: Battle of Ligny (June 16, 1815)

    undated
    Artist Jacques-François Swebach (French, 1769–1823 French)

    Description

    Provenance

    Frederick S. Whitwell; acquired December 1935

    Credit Line

    Anonymous gift

    Details

    Dimensions

    Sheet: 32.1 x 46.7 cm (12 5/8 x 18 3/8 in.)

    Accession Number

    35.1990

    Medium or Technique

    Brush and brown wash over pen and black ink on cream antique laid paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Napoleonic Campaigns: Battle of Raab (June 14, 1809)

    undated
    Artist Jacques-François Swebach (French, 1769–1823 French)

    Description

    Provenance

    Frederick S. Whitwell; acquired December 1935

    Credit Line

    Anonymous gift

    Details

    Dimensions

    Sheet: 31.7 x 46.9 cm (12 1/2 x 18 7/16 in.)

    Accession Number

    35.1991

    Medium or Technique

    Brush and brown wash over pen and black ink on cream antique laid paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Napoleonic Campaigns: Battle of Smolensk (1812)

    Artist Jacques-François Swebach (French, 1769–1823 French)

    Description

    Provenance

    Frederick S. Whitwell; acquired December 1935

    Credit Line

    Anonymous gift

    Details

    Dimensions

    Sheet: 32.1 x 47.1 cm (12 5/8 x 18 9/16 in.)

    Accession Number

    35.1994

    Medium or Technique

    Brush and brown wash over pen and black ink on cream antique laid paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • A Battle Scene from Knickerbocker's History of New York

    1838
    John Quidor (American, 1801–1881 American)

    Description

    Inscription

    Lower center, on fallen branch: J. Quidor, N.Y. 1838.; Reverse, before relining: The Original Painting/by/John Quidor, N York 1838.

    Provenance

    The artist; William H. Kingsley, Philadelphia; with John Levy, New York, 1944; to Maxim Karolik, Newport, R.I., 1948; to MFA, 1948, gift of Martha C. Karolik.

    Credit Line

    Bequest of Martha C. Karolik for the M. and M. Karolik Collection of American Paintings, 1815-1865

    Details

    Dimensions

    68.58 x 87.95 cm (27 x 34 5/8 in.)

    Accession Number

    48.468

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Izumi Saburô Chikahira, No. 14 from the series Paragons of Bravery in Thirty-six Battles (Yûkai sanjûroku kassen)

    Japanese
    Edo period
    1847–52 (Kôka 4–Kaei 5)
    Artist Utagawa Kuniyoshi (Japanese, 1797–1861), Publisher Izumiya Ichibei (Kansendô) (Japanese)

    Description

    Signed

    Ichiyûsai Kuniyoshi ga 一勇斎国芳画

    Provenance

    1949, gift of Porter Sargent to the MFA.

    Credit Line

    Gift of Porter Sargent

    Details

    Catalogue Raisonné

    Robinson, Kuniyoshi: The Warrior-Prints (1982), list #S73.14, photo p. 151

    Dimensions

    Horizontal ôban; 25.3 x 37 cm (9 15/16 x 14 9/16 in.)

    Accession Number

    49.1249

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Prepatory Sketch for Pickett's Charge at the Battle of Gettysburg

    about 1871
    Peter Frederick Rothermel (American, 1817–1895)

    Description

    Inscription

    Lower right: Study in the B[ ] of the/Battle of Gettysburg presented to the Key Stone Battery/through Capt. Poulterer By P.F Ro[rh]erm[el]

    Provenance

    The artist; antique shop, Doylestown, Penn.; with Sally Turner, about 1959; to Maxim Karolik, Newport, R.I., about 1959; to MFA, 1964, bequest of Maxim Karolik.

    Credit Line

    Bequest of Maxim Karolik

    Details

    Dimensions

    66.04 x 87.63 cm (26 x 34 1/2 in.)

    Accession Number

    64.450

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • The Death of General Warren at the Battle of Bunker's Hill, 17 June, 1775

    after 1815–before 1831
    John Trumbull (American, 1756–1843)

    Description

    Called in his day the “patriot-artist,” John Trumbull served in the Continental Army from 1775 to 1777 and became known for his images of the Revolutionary War—a prime source of material for contemporary history paintings. After resigning his commission, he went to London to study with Benjamin West, returning to the United States with the plan to immortalize the country’s struggle for independence in a series of paintings based on the critical events of the conflict and thus create to a new iconography for the new nation. He ultimately completed eight compositions, and in 1817 Congress awarded him a commission for four large canvases to decorate the United States Capitol.
    The Death of General Warren at the Battle of Bunker’s Hill, 17 June 1775 was the first Revolutionary War subject that Trumbull completed. (The scene was not chosen for the Capitol, however.) Joseph Warren [95.1366], perhaps today less well known than Paul Revere [30.781], John Hancock [L-R 30.76d], or Samuel Adams [L-R 30.76c], was one of the key players in the events leading up to the outbreak of war. A popular and innovative physician—among other things, he advocated inoculation and cleanliness in the treatment of his patients—Warren plunged into politics in the late 1760s as an author of persuasive anti-Crown literature, an orator of eloquent speeches, and an underground leader of the growing revolutionary movement. He accepted a commission as a major general on June 14, 1775, but it was as a volunteer that he was killed three days later at the Battle of Bunker Hill.

    Warren’s heroism immediately captured the imagination of the American public. He was so idolized that in the decade following his death there were more towns and streets named after him than after George Washington. John Trumbull, who himself was at Bunker Hill, immortalized the tragedy in dramatic fashion in a composition that, like Benjamin West’s iconic Death of General Wolfe (1770, National Gallery of Canada, Ottawa), refers to old master images of the Lamentation of Christ. In the thick of the turbulent battle, Warren collapses in the arms of a comrade who holds off a further bayonet thrust. Actual participants, both American and British, in the surrounding fray are recognizable, including William Howe, Henry Clinton, and William Prescott (who allegedly gave the order to his American soldiers not to fire until “you see the whites of their eyes”). Trumbull also included two African American enlisted men, representing the significant participation of black soldiers in the event. When Abigail Adams viewed the original sketch for this composition she claimed her “blood shivered” at the sight, so vivid was Trumbull’s depiction of the tragedy. [1]He painted several versions of the subject; the Museum’s descended in the Warren family.

    Notes
    1. Abigail Adams to Mrs. John Shaw, March 4, 1786, in Letters of Mrs. Adams, the Wife of John Adams, ed. Charles Francis Adams (Boston, 1840), 324.

    This text was adapted from Elliot Bostwick Davis et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003).

    Provenance

    Between 1815 and 1831, commissioned by the Warren family; 1909, descended in the Warren family to J. Collins Warren (1842-1927), Boston; 1927, by inheritance to his son, Joseph Warren (1875-1942), Cambridge, Mass.; 1942, to his estate; 1946, by inheritance to his son, Howland Shaw Warren (1910-2003), Nahant, Mass.; 1977, gift of Howland S. Warren to the MFA. (Accession Date: December 15, 1977)

    Credit Line

    Gift of Howland S. Warren

    Details

    Dimensions

    50.16 x 75.56 cm (19 3/4 x 29 3/4 in.)

    Accession Number

    1977.853

    Medium or Technique

    Oil on canvas

    On View

    Liberty Mutual Gallery (Gallery 136)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • The Battle of Bunker Hill

    about 1776–77
    Winthrop Chandler (American, 1747–1790)

    Description

    The battle of Bunker Hill was a recent event when Winthrop Chandler painted this panoramic view of the 1775 skirmish to decorate a cousin’s house in Pomfret, Connecticut. Although Chandler was primarily a portrait painter, he is also credited with about nine landscapes, among the earliest pastoral subjects in the folk idiom known in America. This scene was painted on a fireboard, a screen used to cover a fireplace opening during the summer months; it was later installed above the fireplace as an overmantel. Although Chandler may have spent time in Boston during the 1760s, the Connecticut-based artist was not present at the battle of Bunker Hill. Nor, apparently, was his composition inspired by a print. This depiction is instead Chandler’s own notion of the military engagement, one of the most costly British victories of the war.
    While Chandler’s view is not accurate from either a military or a topographical standpoint (the spectator seems to be looking down over Charlestown from Breed’s Hill, where the battle actually took place), it conveys the drama of the event through telling detail. Wounded soldiers and riderless horses are scattered across the foreground. British ships blast the shoreline with cannonfire, while tiny figures cling to the rigging or flail in the water. At right, a house bursts into flame, a prelude to the bombardment of Charlestown. And, spaced neatly throughout the picture are the three forts that guarded the harbor, each proudly flying the Grand Union flag. The flag, with thirteen stripes signifying the original colonies and the crosses of Saint George and Saint Andrew representing the Crown, suggests a date for the picture: it was the colonial standard until June 14, 1777, when the Continental Congress adopted the Stars and Stripes.

    This text was adapted from Gerald W. R. Ward et al., American Folk (Boston: MFA Publications, 2001).

    Provenance

    About 1776-77, the artist's cousin, Peter Chandler (1733-1816), Pomfret, Conn.; 1816, by descent to Mary Chandler Bowen (Mrs. William Bowen, 1760-1834), Woodstock, Conn.; by 1896, descended in the Bowen family to Herbert W. Bowen (1856-1927), Woodstock, Conn.; 1927, by descent to his widow, Carolyn Clegg Bowen (1876-1949); 1949, by descent to their nephew, Gardner Richardson (1884-1972); by descent to his widow, Dorothea S. K. Richardson (d. 1982); 1982, gift of Mr. and Mrs. Gardner Richardson to the MFA. (Accession Date: April 14, 1982)

    Credit Line

    Gift of Mr. and Mrs. Gardner Richardson

    Details

    Dimensions

    88.58 x 136.21 cm (34 7/8 x 53 5/8 in.)

    Accession Number

    1982.281

    Medium or Technique

    Oil on panel

    On View

    Lurie-Marks Gallery (Gallery 138)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Sino-Japanese Pitched Battles: Two Generals Fighting at Fenghuangcheng (Nisshin gekisen ryôshô Hôôjô sen no zu)

    Japanese
    Meiji era
    1894 (Meiji 27), November 3
    Artist Watanabe Nobukazu (Japanese 1872–1944), Publisher Yokoyama Ryôhachi (Japanese)

    Description

    Inscription

    Carver: Shôun tô

    Signed

    Ôju Yôsai Nobukazu ga

    Markings

    Artist's seal: Yôsai

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych

    Accession Number

    2000.9a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Sino-Japanese War: The Fierce Battle on the Pontoon Bridge at Jiuliancheng (Nisshin: Kyûrenjô funabashi gekisen no zu)

    Japanese
    Meiji era
    1894 (Meiji 27), October
    Artist Kobayashi Toshimitsu (Japanese, active 1877–1904), Publisher Katada Chôjirô (Hori Chô) (Japanese)

    Description

    MFA impressions: 2000.23a-c, 2000.380.32a-c

    Signed

    Toshimitsu (on right sheet) 年光

    Markings

    Blockcutter's mark

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych; 35.8 x 71.7 cm (14 1/8 x 28 1/4 in.)

    Accession Number

    2000.23a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • The Occupation of the Fortress at Niuzhuang: The Battle of Lieutenant Colonel Imada (Gyûsôjô senryô: Imada chûsa sentô no zu)

    Japanese
    Meiji era
    1895 (Meiji 28), March
    Artist Artist Unknown, Japanese, Publisher Hasegawa Tsunejirô (Japanese)

    Description

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych

    Accession Number

    2000.27a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Our Army's Great Victory at the Night Battle of Pyongyang (Heijô yasen wagahei daishôri)

    Japanese
    Meiji era
    1894 (Meiji 27), September
    Artist Kobayashi Toshimitsu (Japanese, active 1877–1904), Publisher Fukuda Kumajirô (Japanese)

    Description

    MFA impressions: 2000.51a-c, 2000.359a-c

    Inscription

    Signed

    Ôju Toshimitsu 応需年光

    Markings

    Artist's seal: Suidô shujin

    Provenance

    Previously owned by various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Catalogue Raisonné

    Virgin et al., Japan at the Dawn of the Modern Age (MFA, 2001), #27, photo p. 73

    Dimensions

    Vertical ôban triptych; 37.1 x 74.3 cm (14 5/8 x 29 1/4 in.)

    Accession Number

    2000.51a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink, color and silver on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Illustration of the Great Naval Battle at the Harbor Entrance to Port Arthur in the Russo-Japanese War (Nichiro Ryojunkô daikaisen no zu)

    Japanese
    Meiji era
    1904 (Meiji 37), printed February 13, published February 16
    Artist Rosetsu (Japanese, active 1904 Japanese), Publisher Katada Chôjirô (Hori Chô) (Japanese)

    Description

    Inscription

    Signed

    Chinshu Rosetsu

    Markings

    Artist's seal: Mori Block carver: hori Toku

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Catalogue Raisonné

    Virgin et al., Japan at the Dawn of the Modern Age (MFA, 2001), #62, photo p. 113

    Dimensions

    Vertical ôban triptych; 35.2 x 70 cm (13 7/8 x 27 9/16 in.)

    Accession Number

    2000.73a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Lieutenant Commander Yamanaka, Chief Gunner of Our Ship Fuji, Fights Fiercely in the Naval Battle at the Entrance to Port Arthur (Ryojunkô no kaisen ni waga Fuji hôjutsuchô Yamanaka shôsa funsen)

    Japanese
    Meiji era
    1904 (Meiji 37), March
    Artist Migita Toshihide (Japanese, 1863–1925), Publisher Akiyama Buemon (Japanese)

    Description

    MFA impressions: 2000.75a-c, RES.51.81a-c

    Inscription

    Signed

    Ôju Gosai ga

    Markings

    Artist's seal: Toshihide no in

    Provenance

    Purchased between 1985 and 1999, probably in London or Tokyo; 2000, gift of Jean S. and Frederic A. Sharf to the Museum of Fine Arts, Boston. (Accession Date: January 26, 2000)

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Catalogue Raisonné

    Virgin et al., Japan at the Dawn of the Modern Age (MFA, 2001), #64, photo p. 116 (this impression)

    Dimensions

    Vertical ôban triptych; 35.8 x 70.1 cm (14 1/8 x 27 5/8 in.)

    Accession Number

    2000.75a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Japanese [Blockade] Suicide Squads Fight Bravely in a Naval Battle at Port Arthur during the Russo-Japanese War (Nichiro Ryojunkô kaisen Nihon kesshitai yûsen)

    Japanese
    Meiji era
    1904 (Meiji 37)
    Artist Artist Unidentified, Japanese

    Description

    “The Japanese blocaders fighting with great bravery at Port Arthur”

    Signed

    Sen...?

    Markings

    Artist's seal: Nansai

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych; 34.5 x 75.6 cm (13 9/16 x 29 3/4 in.)

    Accession Number

    2000.85a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • The Most Illustrious Soldier in the Battle of the Hyeonmu Gate [at Pyongyang], Harada Jûkichi, Climbs Up Ahead and Fights Bravely (Genbumon kôgeki zuiichi gunkôsha Harada Jûkichi shi sento funsen zu)

    Japanese
    Meiji era
    1894 (Meiji 27), November
    Artist Mizuno Toshikata (Japanese, 1866–1908), Publisher Akiyama Buemon (Japanese)

    Description

    MFA impressions: 2000.101a-c, RES.23.306-8, RES.23.338-40, RES.27.170a-c

    Inscription

    Signed

    Ôju Toshikata e 応需年方絵

    Markings

    Artist's seal: Toshikata

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych

    Accession Number

    2000.101a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Our Troops Occupy the Fortress at Mt. Ôgon in the Battle of Port Arthur (Wagahei Ryojunkô Ôgonzan hôrui senryô)

    Japanese
    Meiji era
    1904 (Meiji 37)
    Artist Ozaki Toshitane (Japanese, active about 1882–1897)

    Description

    Inscription

    Signed

    Ôju Toshitane 応需年種

    Markings

    Artist's seal: Toshitane

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Catalogue Raisonné

    Genshoku Ukiyo-e dai hyakka jiten 2 (1982), #362

    Dimensions

    Vertical ôban triptych

    Accession Number

    2000.108a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • The Courageous Fight of General Matsuzaki During the Battle of Songhwan (Seikan no eki ni oite Matsuzaki taii yûsen no zu)

    Japanese
    Meiji era
    1894 (Meiji 27), August
    Artist Watanabe Nobukazu (Japanese 1872–1944), Publisher Hasegawa Sonokichi (Japanese)

    Description

    Inscription

    Carver: hori Toku

    Signed

    Ôju Yôsai Nobukazu hitsu

    Markings

    Artist's seal: Yôsai

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych

    Accession Number

    2000.110a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • The Imperial Navy Wins a Major Victory in a Great Naval Battle off Takushan (Daikosan oki daikaisen teikoku kaigun daishôri)

    Japanese
    Meiji era
    1894 (Meiji 27), printed September, published October
    Artist Kuniomi (Japanese, active 1894 Japanese), Publisher Ozeki Iwakichi (Japanese)

    Description

    Inscription: “Illustration showing how the great Chinese warship Dingyuan, the biggest in the East, weighing 7000 tons, was defeated by our warship Matsushima”

    Signed

    Kuniomi ga

    Markings

    Artist's seal: flower

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Catalogue Raisonné

    Virgin et al., Japan at the Dawn of the Modern Age (MFA, 2001), #31, photo p. 77; Okamoto, Impressions of the Front (1983), #24

    Dimensions

    Vertical ôban triptych; 37 x 74.2 cm (14 9/16 x 29 3/16 in.)

    Accession Number

    2000.135a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Desperate Battle of Captain Asakawa at Tuchengzi (Dojôshi ni okeru Taii Asakawa shi no kusen)

    Japanese
    Meiji era
    1895 (Meiji 28), January
    Artist Kobayashi Kiyochika (Japanese, 1847–1915), Publisher Matsunaga Sakujirô (Shôgetsudô) (Japanese)

    Description

    Signed

    Kiyochika

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych Vertical oban triptych; 36.8 x 75.8 cm (14 1/2 x 29 13/16 in.)

    Accession Number

    2000.181a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Banzai for the Japanese Navy and Army! Illustration of the Great Battle near Weihaiwei (Nihon kairiku banzai; Ikaiei fukin daigekisen no zu)

    Japanese
    Meiji era
    1895 (Meiji 28), February
    Artist Kobayashi Ikuhide (Japanese, active in 1885–1898), Publisher Matsunari Yasutaro (Japanese Japanese)

    Description

    Inscription

    Signed

    Ikuhide hitsu

    Provenance

    Previously owned by various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Catalogue Raisonné

    Virgin et al., Japan at the Dawn of the Modern Age (MFA, 2001), #56, photo p. 104; Okamoto, Impressions of the Front (1983), #72

    Dimensions

    Vertical ôban triptych; 35.8 x 71.8 cm (14 1/8 x 28 1/4 in.)

    Accession Number

    2000.188a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Battle at Jinzhoucheng on the Road to Port Arthur (Ryojun michi Kinshûjô sen)

    Japanese
    Meiji era
    1894 (Meiji 27), November 28
    Artist Kobayashi Kiyochika (Japanese, 1847–1915), Publisher Yokoyama Ryôhachi (Japanese)

    Description

    Signed

    Kiyochika

    Markings

    Artist's seal: Kiyochika

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych; 35 x 71.5 cm (13 3/4 x 28 1/8 in.)

    Accession Number

    2000.185a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Great Victory of Our Armed Forces at the Battle of Pyongyang (Heijô gekisen waga gun dai shôri no zu)

    Japanese
    Meiji era
    1894 (Meiji 27), October
    Artist Kobayashi Kiyochika (Japanese, 1847–1915), Publisher Ayabe Hanjirô (Japanese Japanese)

    Description

    Signed

    Kiyochika

    Markings

    Artist's seal: Kobayashi

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Catalogue Raisonné

    Yoshida, Kiyochika (1964), #131

    Dimensions

    Vertical ôban triptych; 37.2 x 75.3 cm (14 5/8 x 29 5/8 in.)

    Accession Number

    2000.229a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Great Sino-Japanese Battle at Fenghuangcheng (Hôôjô Nisshin dai gekisen no zu)

    Japanese
    Meiji era
    1894 (Meiji 27), October
    Artist Toyohara Kuniteru III (Japanese, active about 1880–1900 Japanese), Publisher Kobayashi Sakutarô (Japanese Japanese)

    Description

    Signed

    ...Kuniteru ga

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych

    Accession Number

    2000.233a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Admiral Kabayama Fights Furiously in the Great Sino-Japanese Naval Battle off Takushan in China (Shinkoku Daikôsan oki Nisshin daikaisen Kabayama shôgun funsen no zu)

    Japanese
    Meiji era
    1894 (Meiji 27), October
    Artist Yôshû Chikanobu (Hashimoto Chikanobu) (Japanese, 1838–1912), Publisher Sone Koshiro (Japanese)

    Description

    Inscription

    Signed

    Yôshû Chikanobu 楊洲周延

    Provenance

    Previously owned by various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Catalogue Raisonné

    Virgin et al., Japan at the Dawn of the Modern Age (MFA, 2001), #38, photo p. 85; Okamoto, Impressions of the Front (1983), #28

    Dimensions

    Vertical ôban triptych; 36 x 72.5 cm (14 3/16 x 28 9/16 in.)

    Accession Number

    2000.243a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Twenty-six Shots from Tingyuen Turned Our Central Ammunition Room into a Scene of Carnage (Illustration for an unpublished book showing the condition inside the battleship Matsushima during the Battle of the Yellow Sea)

    Japanese
    Meiji era
    about 1896 (Meiji 29)
    Artist Artist Unknown, Japanese

    Description

    Markings

    Seal: Hanken shoyü (ownership of copyright)

    Provenance

    Previously owned by various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Catalogue Raisonné

    Virgin et al., Japan at the Dawn of the Modern Age (MFA, 2001), #35, photo p. 82

    Dimensions

    Double ôban; 33 x 45.7 cm (13 x 18 in.)

    Accession Number

    2000.333

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Our Army's Great Victory at the Night Battle of Pyongyang (Heijô yasen wagahei daishôri)

    Japanese
    Meiji era
    1894 (Meiji 27), September
    Artist Kobayashi Toshimitsu (Japanese, active 1877–1904)

    Description

    MFA impressions: 2000.51a-c, 2000.359a-c

    Signed

    Ôju Toshimitsu 応需年光

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych

    Accession Number

    2000.359a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Russo-Japanese War: Great Japan Red Cross Battlefield Hospital Treating Injured (Nichiro sensô dai Nihon Sekijûji yasenbyôin fushôsha kyûryô no zu)

    Japanese
    Meiji era
    1904 (Meiji 37), March
    Artist Utagawa Kokunimasa (Ryûa) (Japanese, 1874–1944), Publisher Fukuda Kumajirô (Japanese)

    Description

    Signed

    Ryûa 柳蛙

    Markings

    Blockcutter's mark: ... Hori Ei Artist's seal: Edokko

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych; 37.3 x 72 cm (14 11/16 x 28 3/8 in.)

    Accession Number

    2000.367a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • The Great Victory of Our Army at the Battle of Pyongyang (Heijô no gekisen waga gun dai shôri no zu)

    Japanese
    Meiji era
    1894–95 (Meiji 27–28)
    Artist Adachi Ginkô (Japanese, active 1874–1897)

    Description

    Signed

    Ôju Ginkô 応需吟光

    Markings

    Atist's seal: Ginkô

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych; 35.5 x 72.3 cm (14 x 28 7/16 in.)

    Accession Number

    2000.380.2a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Great Victory of Our Forces at the Battle of the Yellow Sea--Second Illustration (Kôkai ni okeru wagagun no daishô, dai ni zu)

    Japanese
    Meiji era
    1894 (Meiji 27), October
    Artist Kobayashi Kiyochika (Japanese, 1847–1915)

    Description

    MFA impressions: 2000.10a-c, 2000.380.16a-c

    Signed

    Kiyochika

    Markings

    Artist's seals: Kobayashi, Kiyochika

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych; 35.5 x 72.3 cm (14 x 28 7/16 in.)

    Accession Number

    2000.380.16a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • In the Battle of the Yellow Sea a Sailor onboard Our Japanese Warship Matsushima, on the Verge of Dying, Asked Whether or Not the Enemy Ship Had Been Destroyed (Kôkai no tatakai ni waga Matsushima no suihei shi ni nozonde tekikan no sonpi o tou)

    Japanese
    Meiji era
    1894 (Meiji 27), October
    Artist Kobayashi Kiyochika (Japanese, 1847–1915), Publisher Matsuki Heikichi (Japanese)

    Description

    MFA impressions: 2000.109a-c, 2000.380.21a-c, RES.27.192a-c

    Signed

    Kiyochika

    Markings

    Artist's seals: Kiyo, chika

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Catalogue Raisonné

    Okamoto, Impressions of the Front (1983), #30

    Dimensions

    Vertical ôban triptych; 35.5 x 72.3 cm (14 x 28 7/16 in.)

    Accession Number

    2000.380.21a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Illustration of a Fierce Russo-Japanese War Battle: Our Troops Occupy Dingzhou, a Great Japanese Victory (Nichiro gekisen gazu, Teishû o senryô su, Nihon dai shôri)

    Japanese
    Meiji era
    1904 (Meiji 37), May
    Artist Kyôkatsu (Japanese, active 1904 Japanese), Publisher Matsuki Heikichi (Japanese)

    Description

    Signed

    Unsigned, but has artist's seal

    Markings

    Artist's seal: Kyôkatsu

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych; 35.6 x 71 cm (14 x 27 15/16 in.)

    Accession Number

    2000.458a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • In the Battle of the Sha River, a Company of Our Right-Wing Forces Drives a Strong Enemy Force to the Left Bank of the Taizi River (Shaka no kaisen ni waga uyokugun no ichi jûtai gankyô no teki o Taishika no sagan ni gekitsui)

    Japanese
    Meiji era
    1904 (Meiji 37), November 15
    Artist Hirose Yoshikuni (Japanese, active 1904–1905 Japanese), Publisher Matsuki Heikichi (Japanese)

    Description

    Inscription

    Seal: Yoshikuni

    Signed

    Yoshikuni

    Markings

    Artist's seal: Yoshikuni

    Provenance

    Various dealers: primarily in London and Tokyo. Purchased between 1985-1999.

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    Vertical ôban triptych

    Accession Number

    2000.472a-c

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Battleship Potemkin

    1926
    Anton Lavinsky (Russian, 1893–1968 Russian)

    Description

    Provenance

    2002, International Poster Gallery, Boston; purchase and partial gift through James A. Lapides of the International Poster Gallery to the MFA. (Accession Date: June 26, 2002)

    Credit Line

    Ernest Wadsworth Longfellow Fund, Gift of Jessie H. Wilkinson—Jessie H. Wilkinson Fund, partial gift of James A. Lapides, and Lucy Dalbiac Luard Fund

    Details

    Dimensions

    Sheet: 72.8 x 107.8 cm (28 11/16 x 42 7/16 in.)

    Accession Number

    2002.155

    Medium or Technique

    Poster, color lithograph

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints, Posters

    More Info
  • Private Harada Jûkichi Opens the Hyeonmu Gate from Within the Fort at Pyongyang

    Japanese
    Meiji era
    1894 (Meiji 27)
    Artist Mizuno Toshikata (Japanese, 1866–1908), Publisher Sekiguchi Masajirô (Japanese)

    Object Place

    Description

    Triptych: 21.1786 (right), 21.1787 (center), 21.1788 (left)

    MFA impressions: 21.1786-8, RES.27.202a-c

    Signed

    Ôju Toshikata e 応需年方絵

    Provenance

    By 1911, purchased by William Sturgis Bigelow (b. 1850 – d. 1926), Boston [see note 1]; 1911, gift of Bigelow to the MFA. (Accession Date: August 3, 1911) NOTES: [1] Much of Bigelow's collection of Asian art was formed during his residence in Japan between 1882 and 1889, although he also made acquisitions in Europe and the United States. Bigelow deposited many of these objects at the MFA in 1890 before donating them to the Museum's collection at later dates.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    Vertical ôban triptych

    Accession Number

    21.1786-8

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Attack at Seminary Ridge, Gettysburg, July 1863

    1863
    Unidentified artist, American, 19th century

    Description

    Provenance

    Gift of Maxim Karolik for the proposed M. and M. Karolik Collection

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik (Civil War) 0886

    Dimensions

    Sheet: 50.8 x 71.4 cm (20 x 28 1/8 in.)

    Accession Number

    60.1083

    Medium or Technique

    Pastel on prepared board (sandpaper)

    Not On View

    Collections

    Prints and Drawings

    Classifications

    Pastels

    More Info
  • Grant's First Attack at Vicksburg

    May 19, 1863
    Unidentified artist, American, 19th century

    Description

    Provenance

    Maxim Karolik (1893-1963, Newport); by whom given to MFA May 10, 1961

    Credit Line

    Gift of Maxim Karolik for the M. and M. Karolik Collection of American Watercolors and Drawings, 1800–1875

    Details

    Catalogue Raisonné

    Karolik (Civil War) 0885

    Dimensions

    Sheet: 50.8 x 59.1 cm (20 x 23 1/4 in.)

    Accession Number

    61.362

    Medium or Technique

    Graphite pencil and watercolor on paper

    Not On View

    Collections

    Prints and Drawings

    Classifications

    Watercolors

    More Info
  • General Attack on the Tientsin Castle by the Allied Armies: The Hakko-tai Corps of the 11th Regiment Opening the South Inner Gate and Charging

    Japanese
    Meiji era
    1900 (Meiji 33), August 8

    Description

    Published by Kasai Torajiro, Seiundo Company, Kanda, Tokyo

    Signed

    (signature unread)

    Provenance

    Purchased in London, circa 1985

    Credit Line

    Jean S. and Frederic A. Sharf Collection

    Details

    Dimensions

    38.1 x 71.1 cm (15 x 28 in.)

    Accession Number

    2001.863

    Medium or Technique

    Lithograph; ink and color on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Prints

    More Info
  • Mounting for a sword of the tachi type with decoration of crests

    Japanese
    Edo period
    17th century

    Description

    Provenance

    1890 Charles Goddard Weld Collection; bequeathed to MFA, December 7, 1911.

    Credit Line

    Charles Goddard Weld Collection

    Details

    Dimensions

    Overall: 109.5 x 15.5 cm (43 1/8 x 6 1/8 in.)

    Accession Number

    11.5097b

    Medium or Technique

    Silk, leather, gold Tsunagi (wooden blade): Honaki wood (Magnolia Obovata)

    Not On View

    Collections

    Asia

    Classifications

    Arms and armor

    More Info

Contents