Search

Collection Tour

MFA Images: Weapons & War

  • MFA Images: Weapons & War - Slide

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

    1861

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

    Description
    Details

    Dimensions

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

    Medium

    Graphite pencil, transparent and opaque watercolor on paper

    Classification

    Watercolors

    Accession Number

    51.2785

    Collections

    Americas , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Kozuka with design of deer and moon

    About 1850

    Kano Natsuo, Japanese, 1828–1898 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.23814

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • The National Lancers with the Reviewing Officers on Boston Common

    1837

    Fitz Henry Lane, American, 1804–1865

    Description
    Details

    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.)

    Medium

    Lithograph, hand-colored

    Classification

    Prints

    Accession Number

    39.257

    Collections

    Americas , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Poperinghe: Two Soldiers

    1918

    John Singer Sargent, American, 1856–1925

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Watercolors

    Accession Number

    21.140

    Collections

    Americas , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Sword

    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.

    Details

    Dimensions

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

    Medium

    Bronze

    Classification

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

    Accession Number

    61.376

    Collections

    The Ancient World

    Not On View
    More Info
    Multimedia
  • Kozuka with design of many monkeys

    mid-18th century

    Tetsugendo Naoshige, Japanese, died in 1780 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.23826a-b

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Running Fight, Sioux and Crows

    1837–74

    Alfred Jacob Miller, American, 1810–1874 American

    Description
    Details

    Dimensions

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

    Medium

    Watercolor over black chalk with gum arabic additions on brown paper

    Classification

    Watercolors

    Accession Number

    55.777

    Collections

    Americas , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Kozuka with design of carp and weeds

    early to mid-19th century

    Ishiguro Masayoshi, Japanese, 1775–1862 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.5217a

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Kozuka with design of Okame mask on hanger

    Late 18th–early 19th century

    Hamano Naoyuki, Japanese, born in 1754 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.5224a

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Sheridan's Ride

    1871

    Thomas Buchanan Read, American, 1822–1872 American

    Description
    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    1983.594

    Collections

    Americas

    Not On View
    More Info
    Multimedia
  • Kozuka with design of millet-heads

    mid-19th century

    Araki Tomei, Japanese, 1817–1870 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.5225a

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • 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.

    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    64.709

    Collections

    Contemporary Art , Europe

    Not On View
    More Info
    Multimedia
  • Mounting for a sword of the tantô type with decoration of autumn...

    mid-19th century

    By collaborator Tanaka Toshiyoshi, Japanese, dates unknown Japanese

    Description
    Details

    Dimensions

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

    Medium

    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)

    Classification

    Arms and armor

    Accession Number

    11.11252a

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Two swords

    early to mid-19th century

    Ishiguro Masaaki, Japanese, about 1815–1875 Japanese

    Description
    Details

    Dimensions

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

    Medium

    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

    Classification

    Arms and armor

    Accession Number

    11.5059

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Sword of the wakizashi type with mounting

    mid 14th century and 19th century

    Inscribed by Mihara no jû Morimasa, Japanese, active mid 14th...

    Description
    Details

    Dimensions

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

    Medium

    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

    Classification

    Arms and armor

    Accession Number

    11.11291

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • On the War Path

    1837–74

    Alfred Jacob Miller, American, 1810–1874 American

    Description
    Details

    Dimensions

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

    Medium

    Watercolor over graphite with gum arabic additions on paper

    Classification

    Watercolors

    Accession Number

    57.325

    Collections

    Americas , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Kozuka with design of a boat on the Yodo River

    early to mid-19th century

    School Hosono School, Japanese Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.23754a

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Kozuka with design of crows

    mid-19th century

    Yanagawa Naomasa, Japanese, 1692–1757 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.23755a

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Kozuka with design of tiger and bamboo

    early to mid-19th century

    Murakami Jochiku, Japanese, died about 1790–1800 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.23773a

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Kozuka with design of Nio and temple attendant

    early to mid-19th century

    Yokoya Sômin V, Japanese, born in 1795 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.23829a

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • 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)

    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.478

    Collections

    Americas

    Not On View
    More Info
    Multimedia
  • Small sword with original scabbard and waistbelt

    about 1735

    Jacob Hurd, American, 1702 or 1703–1758

    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.

    Details

    Dimensions

    77.47 cm (30 1/2 in.)

    Medium

    Silver, steel, leather

    Classification

    Silver

    Accession Number

    1984.109.1-3

    Collections

    Americas

    Not On View
    More Info
    Multimedia
  • Entrance of the Fifty-Fifth Massachusetts Regiment (Colored) into...

    1865

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

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Drawings

    Accession Number

    59.940

    Collections

    Americas , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Officer's sword

    about 1805–12

    Thomas Ellicott Warner, American, 1780–1828

    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.

    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.)

    Medium

    Silver, ivory, steel

    Classification

    Silver

    Accession Number

    1973.481a-b

    Collections

    Americas

    Not On View
    More Info
    Multimedia
  • US Army Cavalry Regiment with Horses Standing on Giant Cedar

    around 1900

    Unidentified artist, American, 19th century

    Description
    Details

    Dimensions

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

    Medium

    Photograph, gelatin silver print

    Classification

    Photographs

    Accession Number

    2002.811

    Collections

    Photography

    Not On View
    More Info
    Multimedia
  • 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.

    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.)

    Medium

    Photograph, albumen print from wet collodion negative

    Classification

    Photographs

    Accession Number

    1992.513

    Collections

    Europe , Photography

    Not On View
    More Info
    Multimedia
  • Sword

    Late 16th century

    Artist Seki, Japanese Japanese

    Description
    Details

    Dimensions

    .816 L.

    Medium

    Metal (non-specific)

    Classification

    Arms and armor

    Accession Number

    11.5092a-b

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Kozuka with design of Li Bai supported by two attendants

    About 1870–89

    Miyata Nobuhisa, Japanese, 1849–1926 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.5184

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Night Attack on the Sanjô Palace, from the Illustrated Scrolls...

    second half of the 13th century

    Description
    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.)

    Medium

    Handscroll; ink and color on paper

    Classification

    Paintings

    Accession Number

    11.4000

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • Cavalry Charge

    1902

    Jean Baptiste Edouard Detaille, French, 1848–1912

    Description
    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    24.218

    Collections

    Europe

    Not On View
    More Info
    Multimedia
  • Captives

    Evariste Vital Luminais, French, 1822–1896 French

    Description
    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    24.230

    Collections

    Europe

    Not On View
    More Info
    Multimedia
  • Portrait of H. R. H. the Prince of Wales at a Review, Attended by...

    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

    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    25.98

    Collections

    Americas

    Not On View
    More Info
    Multimedia
  • 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.

    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    30.444

    Collections

    Europe

    Not On View
    More Info
    Multimedia
  • War Ground

    1863

    Alfred Jacob Miller, American, 1810–1874 American

    Description
    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.454

    Collections

    Americas

    Not On View
    More Info
    Multimedia
  • The Boston Massacre

    1770

    Paul Revere, Jr., American, 1734–1818

    Description
    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.)

    Medium

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

    Classification

    Prints

    Accession Number

    67.1165

    Collections

    Americas , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Pitcher (oinochoe) with battle of the Greeks and Amazons

    about 320–310 B.C.

    The Helios Group

    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.

    Details

    Dimensions

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

    Medium

    Ceramic, Red Figure

    Classification

    Vessels

    Accession Number

    89.260

    Collections

    Europe , The Ancient World

    Not On View
    More Info
    Multimedia
  • Battle Scene with Nadir Shah on Horseback

    mid-18th century

    Possibly by Muhammad Ali ibn Abd al-Bayg ibn Ali Quli Jabbadar,...

    Description
    Details

    Dimensions

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

    Medium

    Opaque watercolor and gold on paper

    Classification

    Paintings

    Accession Number

    14.646

    Collections

    Asia

    Not On View
    More Info
    Multimedia
  • The Great Battle at the Uji River (Ujikawa ôgassen)

    about 1839–41 (Tenpô 10–12)

    Artist Utagawa Kuniyoshi, Japanese, 1797–1861

    Description

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

    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    17.3209.12-4

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Chinese and Japanese Troops in a Great Battle at Gaiping (Nisshin...

    1895 (Meiji 28),February

    Artist Nakagawa, Japanese, active 1895 Japanese

    Description

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

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

    Details

    Dimensions

    Vertical ôban triptych

    Medium

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

    Classification

    Prints

    Accession Number

    21.1540-2

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Napoleonic Campaigns: Battle of Ahensberg

    undated

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

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Drawings

    Accession Number

    35.1988

    Collections

    Europe , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Napoleonic Campaigns: Battle of Ligny (June 16, 1815)

    undated

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

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Drawings

    Accession Number

    35.1990

    Collections

    Europe , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Napoleonic Campaigns: Battle of Raab (June 14, 1809)

    undated

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

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Drawings

    Accession Number

    35.1991

    Collections

    Europe , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Napoleonic Campaigns: Battle of Smolensk (1812)

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

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Drawings

    Accession Number

    35.1994

    Collections

    Europe , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • A Battle Scene from Knickerbocker's History of New York

    1838

    John Quidor, American, 1801–1881 American

    Description
    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.468

    Collections

    Americas

    Not On View
    More Info
    Multimedia
  • Izumi Saburô Chikahira, No. 14 from the series Paragons of...

    1847–52 (Kôka 4–Kaei 5)

    Artist Utagawa Kuniyoshi, Japanese, 1797–1861

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    49.1249

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Prepatory Sketch for Pickett's Charge at the Battle of...

    about 1871

    Peter Frederick Rothermel, American, 1817–1895

    Description
    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    64.450

    Collections

    Americas

    Not On View
    More Info
    Multimedia
  • The Death of General Warren at the Battle of Bunker's Hill,...

    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).

    Details

    Dimensions

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

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    1977.853

    Collections

    Americas

    Not On View
    More Info
    Multimedia
  • The Battle of Bunker Hill

    about 1776–77

    Winthrop Chandler, American, 1747–1790 American

    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).

    Details

    Dimensions

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

    Medium

    Oil on panel

    Classification

    Paintings

    Accession Number

    1982.281

    Collections

    Americas

    Not On View
    More Info
    Multimedia
  • Sino-Japanese Pitched Battles: Two Generals Fighting at...

    1894 (Meiji 27), November 3

    Artist Watanabe Nobukazu, Japanese 1872–1944 Japanese

    Description
    Details

    Dimensions

    Vertical ôban triptych

    Medium

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

    Classification

    Prints

    Accession Number

    2000.9a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Sino-Japanese War: The Fierce Battle on the Pontoon Bridge at...

    1894 (Meiji 27), October

    Artist Kobayashi Toshimitsu, Japanese, active 1877–1904

    Description

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

    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.23a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • The Occupation of the Fortress at Niuzhuang: The Battle of...

    1895 (Meiji 28), March

    Artist Artist Unknown, Japanese

    Description
    Details

    Dimensions

    Vertical ôban triptych

    Medium

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

    Classification

    Prints

    Accession Number

    2000.27a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Our Army's Great Victory at the Night Battle of Pyongyang...

    1894 (Meiji 27), September

    Artist Kobayashi Toshimitsu, Japanese, active 1877–1904

    Description

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

    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.51a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Illustration of the Great Naval Battle at the Harbor Entrance to...

    1904 (Meiji 37), printed February 13, published February 16

    Artist Rosetsu, Japanese, active 1904 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.73a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Lieutenant Commander Yamanaka, Chief Gunner of Our Ship Fuji,...

    1904 (Meiji 37), March

    Artist Migita Toshihide, Japanese, 1863–1925

    Description

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

    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.75a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Japanese [Blockade] Suicide Squads Fight Bravely in a Naval...

    1904 (Meiji 37)

    Artist Artist Unidentified, Japanese

    Description

    "The Japanese blocaders fighting with great bravery at Port Arthur"

    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.85a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • The Most Illustrious Soldier in the Battle of the Hyeonmu Gate...

    1894 (Meiji 27), November

    Artist Mizuno Toshikata, Japanese, 1866–1908

    Description

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

    Details

    Dimensions

    Vertical ôban triptych

    Medium

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

    Classification

    Prints

    Accession Number

    2000.101a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Our Troops Occupy the Fortress at Mt. Ôgon in the Battle of Port...

    1904 (Meiji 37)

    Artist Ozaki Toshitane, Japanese, active about 1882–1897

    Description
    Details

    Dimensions

    Vertical ôban triptych

    Medium

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

    Classification

    Prints

    Accession Number

    2000.108a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • The Courageous Fight of General Matsuzaki During the Battle of...

    1894 (Meiji 27), August

    Artist Watanabe Nobukazu, Japanese 1872–1944 Japanese

    Description
    Details

    Dimensions

    Vertical ôban triptych

    Medium

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

    Classification

    Prints

    Accession Number

    2000.110a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • The Imperial Navy Wins a Major Victory in a Great Naval Battle...

    1894 (Meiji 27), printed September, published October

    Artist Kuniomi, Japanese, active 1894 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"

    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.135a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Desperate Battle of Captain Asakawa at Tuchengzi (Dojôshi ni...

    1895 (Meiji 28), January

    Artist Kobayashi Kiyochika, Japanese, 1847–1915

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.181a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Banzai for the Japanese Navy and Army! Illustration of the Great...

    1895 (Meiji 28), February

    Artist Kobayashi Ikuhide, Japanese, active in 1885–1898 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.188a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Battle at Jinzhoucheng on the Road to Port Arthur (Ryojun michi...

    1894 (Meiji 27), November 28

    Artist Kobayashi Kiyochika, Japanese, 1847–1915

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.185a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Great Victory of Our Armed Forces at the Battle of Pyongyang...

    1894 (Meiji 27), October

    Artist Kobayashi Kiyochika, Japanese, 1847–1915

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.229a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Great Sino-Japanese Battle at Fenghuangcheng (Hôôjô Nisshin...

    1894 (Meiji 27), October

    Artist Toyohara Kuniteru III, Japanese, active about 1880–1900...

    Description
    Details

    Dimensions

    Vertical ôban triptych

    Medium

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

    Classification

    Prints

    Accession Number

    2000.233a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Admiral Kabayama Fights Furiously in the Great Sino-Japanese...

    1894 (Meiji 27), October

    Artist Hashimoto Chikanobu, Japanese, 1838–1912

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.243a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Twenty-six Shots from Tingyuen Turned Our Central Ammunition Room...

    about 1896 (Meiji 29)

    Artist Artist Unknown, Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.333

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Our Army's Great Victory at the Night Battle of Pyongyang...

    1894 (Meiji 27), September

    Artist Kobayashi Toshimitsu, Japanese, active 1877–1904

    Description

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

    Details

    Dimensions

    Vertical ôban triptych

    Medium

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

    Classification

    Prints

    Accession Number

    2000.359a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Russo-Japanese War: Great Japan Red Cross Battlefield Hospital...

    1904 (Meiji 37), March

    Artist Utagawa Kokunimasa (Ryûa), Japanese, 1874–1944

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.367a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • The Great Victory of Our Army at the Battle of Pyongyang (Heijô...

    1894–95 (Meiji 27–28)

    Artist Adachi Ginkô, Japanese, active 1874–1897

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.380.2a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Great Victory of Our Forces at the Battle of the Yellow...

    1894 (Meiji 27), October

    Artist Kobayashi Kiyochika, Japanese, 1847–1915

    Description

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

    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.380.16a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • In the Battle of the Yellow Sea a Sailor onboard Our Japanese...

    1894 (Meiji 27), October

    Artist Kobayashi Kiyochika, Japanese, 1847–1915

    Description

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

    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.380.21a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Illustration of a Fierce Russo-Japanese War Battle: Our Troops...

    1904 (Meiji 37), May

    Artist Kyôkatsu, Japanese, active 1904 Japanese

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Prints

    Accession Number

    2000.458a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • In the Battle of the Sha River, a Company of Our Right-Wing...

    1904 (Meiji 37), November 15

    Artist Hirose Yoshikuni, Japanese, active 1904–1905 Japanese

    Description
    Details

    Dimensions

    Vertical ôban triptych

    Medium

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

    Classification

    Prints

    Accession Number

    2000.472a-c

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Battleship Potemkin

    1926

    Anton Lavinsky, Russian, 1893–1968 Russian

    Description
    Details

    Dimensions

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

    Medium

    Poster, color lithograph

    Classification

    Prints , Posters

    Accession Number

    2002.155

    Collections

    Europe , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Private Harada Jûkichi Opens the Hyeonmu Gate from Within the...

    1894 (Meiji 27)

    Artist Mizuno Toshikata, Japanese, 1866–1908

    Description

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

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

    Details

    Dimensions

    Vertical ôban triptych

    Medium

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

    Classification

    Prints

    Accession Number

    21.1786-8

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Attack at Seminary Ridge, Gettysburg, July 1863

    1863

    Unidentified artist, American, 19th century

    Description
    Details

    Dimensions

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

    Medium

    Pastel on prepared board (sandpaper)

    Classification

    Pastels

    Accession Number

    60.1083

    Collections

    Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Grant's First Attack at Vicksburg

    May 19, 1863

    Unidentified artist, American, 19th century

    Description
    Details

    Dimensions

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

    Medium

    Graphite pencil and watercolor on paper

    Classification

    Watercolors

    Accession Number

    61.362

    Collections

    Prints and Drawings

    Not On View
    More Info
    Multimedia
  • General Attack on the Tientsin Castle by the Allied Armies: The...

    1900 (Meiji 33), August 8

    Description

    Published by Kasai Torajiro, Seiundo Company, Kanda, Tokyo

    Details

    Dimensions

    38.1 x 71.1 cm (15 x 28 in.)

    Medium

    Lithograph; ink and color on paper

    Classification

    Prints

    Accession Number

    2001.863

    Collections

    Asia , Prints and Drawings

    Not On View
    More Info
    Multimedia
  • Mounting for a sword of the tachi type with decoration of crests

    17th century

    Description
    Details

    Dimensions

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

    Medium

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

    Classification

    Arms and armor

    Accession Number

    11.5097b

    Collections

    Asia

    Not On View
    More Info
    Multimedia

Contents