This collection of 17 Poems from the Great War represented the free offering of English poets to the cause of National Relief during WWI. Most of these poems appeared in the Press at the outbreak of WWI. Mr. Robert Bridges' (Poet Laureate 1913 – 1930) opening contribution, Mr. Henry Newbolt's, Mr. Maurice Hewlett's, Mr. R. E. Vernède's, Mr. Binyon's, were all printed in the Times during the few days immediately following the declaration of war, as also was the sonnet by Mr. William Watson. Sir Owen Seaman's poem came out originally in Punch, "The Hour" in the Daily Telegraph, "The United Front" in the Daily Mail. "We Willed it Not" is reprinted from the Sphere, "Duty" and "Commandeered" from the Westminster Gazette, and the poems by Mr. Gilbert and Mr. Cecil Chesterton from the New Witness. The New Weekly published the verses by Mr. John Freeman, and the Daily Chronicle those by Mr. Harold Begbie. The two hymns which close the collection are reprinted, by special permission of their authors, from volumes previously published. The original cover design, from which the current was developed, was contributed by Mr. William Nicholson (1872 – 1949). As the National Relief program was wound up in about 1923, the 10% of the net profit from the sale of this book will be donated to the Royal British Legion for their continued work with Returned Servicemen.
The 18 stories in this fundraising book were contributed by soldiers serving during the Great War. The funds raised were donated to the Red Cross, hence the book’s title. The stories have been contributed by well-known authors like A. A. Milne, Oliver Onions, W. B. Maxwell, Cosmo Hamilton, Ian Hay amongst the many, who at the time were, themselves, serving soldiers facing the horrors of the trenches. The stories in this volume are: Dimoussi And The Pistol The Woman The Cherub An Impossible Person The Veil Of Flying Water “Bill Bailey” Life-Like Lame Dogs The Silver Thaw Carnage The Bronze Parrot The Forbidden Woman Eliza And The Special The Probation Of Jimmy Baker The Ghost That Failed The Miracle The Fight For The Garden The Face In The Hop Vines 10% of the profit from the sale of this book will be donated to charities which support returned servicemen injured in the more recent conflicts in Afghanistan, Iraq and other recent theatres of war. ============== KEYWORDS/TAGS: Red Cross, Story Book, Returned servicemen, wounded, injured, Dimoussi, Pistol, The Woman, Cherub, Impossible Person, Veil, Flying Water, Bill Bailey, Life Like, Lame Dogs, Silver Thaw, Carnage, Bronze Parrot, Forbidden Woman, Eliza, The Special, Probation, Jimmy Baker, Ghost, Failure, fail, Miracle, Fight, Garden, Face, Hop Vines, charity, fundraiser, WWI, Great War, First World War, soldiers,
Edmund Dulac (22 October 1882 – 25 May 1953) was a naturalised British magazine illustrator, book illustrator and stamp designer. Born in Toulouse he studied law but later turned to the study of art at the École des Beaux-Arts. He moved to London early in the 20th century and in 1905 received his first commission to illustrate the novels of the Bronte Sisters. During World War I, Dulac produced relief books, of which “A Picture-Book for the French Red Cross” is one. In this volume are 17 illustrated fairy tales, songs, poems and stories for children selected from around the world. Herein you will find the stories like: The Story Of The Bird Feng Young Rousselle Laylá And Majnún The Nightingale Three Kings Of Orient Sindbad The Sailor The Little Seamstress The Real Princess My Lisette Cinderella The Chilly Lover The Story Of Aucassin And Nicolette Blue Beard Cerberus, The Black Dog Of Hades The Lady Badoura The Sleeper Awakened Jusef And Asenath: When, after the war the deluxe children's book market shrank he turned to magazine illustrations among other ventures. He designed banknotes during World War II and postage stamps, most notably those which heralded the beginning of Queen Elizabeth II's reign. 10% of the publisher’s profit will be donated to charities supporting wounded returned servicemen. ------- KEYWORDS/TAGS - Children’s stories, Children’s Books, Folklore, Fairy, Folk, Tales, bedtime story, legends, storyteller, fables, moral tales, myths, happiness, laughter, fairy tales for kids, around the world, nursery rhymes, fairy tales story, fairy tales book, short fairy tales, songs, poems, The Bird Feng, Young Rousselle, Layla, Majnun, Nightingale, Three Kings Of Orient, Sindbad The Sailor, Little Seamstress, Real Princess, Lisette, Cinderella, Chilly Lover, Aucassin, Nicolette, Blue Beard, Cerberus, Black Dog, Hades, Lady Badoura, Sleeper, Awakened, Jusef, Asenath, France, England, Germany, Egypt, Persia, China, Hans Christian Andersen, Thousand and One Nights, WWI, Great War, First World War
Herein are 119 satirical cartoons published in Punch between 1890 and 1915 which focus on the growing threat of war in the years preceding and during the first two years of the GREAT WAR. The cartoons are grouped into the following categories: The Days Preceding the WarThe StruggleUncle SamThe Comedies of the Great TragedyWomen and Children FirstThe New Rake's Progress—Unser KaiserThe RaiderThe Unspeakable TurkItalia! The cartoons encompass all the Allied nations and most of those aligned with the Central Powers. The sea war also features the antics of both navies and of course the sinking of non-military liners. During the war the media swung into action in effect becoming an Allied propaganda machine. In addition to Punch, Dutchman Louis Raemakers was also proactive in this media. Raemakers cartoons were so effective that he and his family had to flee the Netherlands when the German High Command offered a reward for his capture. Working in London he continued to publish his cartoons mainly in The Times and even went on a promotional tour of the USA. It was thought that his many works, which can be seen in the eBooks Raemakers Cartoons of WWI – vols. 1 & 2, was partly instrumental in changing the opinion of the American public towards involvement in the “European” war. The effect of these cartoons on rallying public opinion before and during the Great War was incalculable and the propaganda machine continued to play a major role in the conflicts following the Great War. ============ KEYWORDS/TAGS: Punch, Cartoons, Published, Louis Raemakers, , Admiral, Allies, Australia, Austria, BELGIUM, BELIEVE, Berlin, BLOCKADE, Boer, Botha, Britain, British, Brusilov, Bull, CALAIS, Camel, Canada, Captain, Chorus, Christian, Dame, dangerous, Delville Wood,, EAGLE, Eagle, Eastern, Emperor, ENEMY, Europa, Europe, FAIR, FOUL, FRONT, Gallipoli, General, German, German Headquarters, GOD, Grand, GREAT WAR, HATE, Holland, HONOUR, Hood, Imperial, India, Inter-Parliamentary, JACK-IN-THE-BOX, John, Kaiser Wilhelm, KING, Marne, Messines, New Zealand, Officer, Order, PARIS, Passchendaele, Photographer, Pilot, Prince, RAIDER, Red, Riding, RUSSIA, South Africa, South West Africa, Spring Offensive, STOP, Sultan, The Somme, Tipperary, Tirpitz, TRIUMPH, Turk, Turkey, Uncle Sam, United States of America, USA, Verdun, Western Front, WILLIAM, WOMEN, WWI, Ypres, Propaganda, media, newspaper, magazine
Seventeen true tales of adventure, heroic deeds and exploits told by the soldiers, officers, nurses, eye witnesses and newspaper reports from the period. Includes excerpts from “True Stories of the great war vols. i. – vi. and “Raemaker's Satirical Cartoons of the Great War vols. i. – iii.” as published by The Times newspaper.
Throughout history cartoons can have had a powerful psychological, emotional, and political impact. One hundred years before WWI, Napoleon is reported to have said that the English caricaturist James Gillray "did more than all the armies in Europe to bring me down.” During World War I, no cartoonist exercised more influence than Louis Raemaekers of Holland. Charged with "endangering Dutch neutrality," his cartoons led the German Government to offer a 12,000 guilder reward for his capture, dead or alive. A German newspaper, summarizing the terms of peace Germany would exact after it won the war, declared that “Indemnity would be demanded for every one of Raemaekers' cartoons.” Raemaekers cartoons were also instrumental in fighting against deeply entrenched American isolationism. When, in 1917, the United States entered the war, Raemaekers embarked on a lecture tour of the USA and Canada, rallying the new allies for support and arguing the case for mobilisation against the German Empire. The Christian Science Monitor commented “From the outset his works revealed something more than the humorous or ironical power of the caricaturist; they showed that behind the mere pictorial comment on the war was a man who thought and wrought with deep and uncompromising conviction as to right and wrong.” All too often art critics, art historians, aestheticians, and others have dismissed cartoons and caricatures as silly — not serious — trivial, and irrelevant. Yet, as you will see with the cartoons in this first volume, here are cartoons and caricatures that, in retrospect, possibly had more effect on the German High Command and German populace than possibly a new Allied offensive, giving weight to the adage “The Pen is Mightier than the Sword.” - if only pen and paper could have been used to greater effect in this, the Great War.
Even in the midst of the death and destruction of war there are strange and funny occurrences. Occurrences made hilarious and farcical because of the circumstance in which they occur. These hilarious occasions are more often than not recalled with greater ease and much mirth long after the war has ended and everyone has gone home. Their recall is made easier if only because soldiers would prefer not to recall the painful memories that come with the experience of having been in battle. Herein are over 300 short stories, anecdotes, pranks, jokes and laughable affairs recalled by servicemen after the Great War patiently collated and published with care by Carleton B. Case in 1919. TAGS: Funny Stories from the Great War, funny, jokes, pranks, anecdotes, laughable affairs, Carleton Case, hilarious occasions, recall, World War One, World War 1, World War I, WWI, WW1, Great War, trench humour, humor, trench humour,
Herein are the facts of the story of T.E. Lawrence and his adventures and achievement in Arabia, collated by Lowell Thomas (April 6, 1892 – August 29, 1981) and his cameraman Harry Chase who traveled with T E Lawrence during 1917 and 1918. In Thomas’ own words: “To do this I must turn back the pages of time to the days when, accompanied by my photographic colleague, Mr. Harry A. Chase, and two other assistants, I left America to gather information and secure a pictorial record of the various phases of the struggle that was then in progress all the way from the North Sea to far-off Arabia. We had set forth early in 1917 and were expected to return at the end of a year or so to help in the work of stimulating enthusiasm for the Allied cause. First we went to the Western Front, but the trenches had little to inspire the American public. We then went to Italy where he heard of General Allenby's campaign against the Ottoman Empire in Palestine. We travelled to Palestine as an accredited war correspondent, where in late 1917 we met Capt. T. E. Lawrence in Jerusalem. It is from this point on I began to collect the pieces of the story of Allenby’s conquest of the Holy Land, and the hitherto unknown story of Lawrence and the war in the Land of the Arabian Nights, which was later dramatised in the film “Lawrence of Arabia.” During the time that Mr. Chase and I were in Arabia, I found it impossible to extract information from Lawrence himself regarding his own achievements. He insisted on giving the entire credit to Emir Feisal and other Arab leaders, and to his fellow-adventurers, Colonel Wilson, of the Sudan, Newcombe, Joyce, Dawney, Bassett, Vickery, Cornwallis, Hogarth, Stirling, etc., all of whom did magnificent work in Arabia. So to them I went for much of my material, and I am indebted to various members of this group of brilliant men whom General Clayton used in his Near Eastern Secret Corps. Eager to tell me of the achievements of their quiet, scholarly companion, they refused to say much about themselves, although their own deeds rivaled those of the heroes of “The Arabian Nights.” However, there are others infinitely better qualified than I to give the world a full account of the Arabian Revolution. But it is to Lawrence himself that we must look for the inside story of the war in the Land of the Arabian Nights. 10% of the profit from this book will be donated to charities. Yesterday’s Books for Today’s Charities. =============== KEYWORDS/TAGS: Lawrence of Arabia, Action and adventure, Allenby, Arabia, Bassett, campaign, Captain, Harry Chase, Clayton, Colonel T. E. Lawrence, Cornwallis, Dawney, Eastern, Emir, Empire, Feisal, film, General, heroes, Italy, Jerusalem, Joyce, Lowell Thomas, nitroglycerine, Palestine, Revolution, Sudan, train, travel, trenches, tulips, Turkish, world war 1, Arabian Knights, Lost Civilizations, Archaeologist, Soldier, Cult, Blood of Mohammed, Jeddah, Mecca, Desert Tribes, Battles, Abu El Lissal, Capture, King Solomon, Ancient Seaport, Red Sea, Seil El Hasa, Train-Wrecker, Milk of War, Auda Abu Tayi, Bedouin, Black Tents, Camel, Abdullah the Pock-Marked, Ferraj and Daoud, Eye for an Eye, Tooth for a Tooth, Rose-Red City, Half as Old as Time, Bedouin Battle, City of Ghosts Enemy Lines, Disguise, Hoax, Trojan Horse, Cavalry, Naval Engagement, Last Great Raid, Ottoman Empire , Damascus, Treachery, Secret Corps, Joyce & Co, Knights of the Air, Battle of Paris, Escape Death, Feisal and Hussein, Flee, London, King in Bagdad, Secret of Success
Herein are 107 more satirical cartoons from the master Louis Raemaeker which end off the second year of WWI. With so may atrocities committed by both sides, Raemakers was not short of material. One hundred years before WWI, Napoleon is reported to have said that the English caricaturist James Gillray "did more than all the armies in Europe to bring me down.” Likewise, during World War I, no cartoonist exercised more influence than Louis Raemaekers of Holland. Charged with "endangering Dutch neutrality," he fled to England. His satirical newspaper cartoons led the German Government to offer a 12,000 guilder (±US250,000 in 2014) reward for his capture, dead or alive. A German newspaper, summarizing the terms of peace Germany would exact after it won the war, declared that “Indemnity would be demanded for every one of Raemaekers' cartoons.” Raemaekers cartoons were also instrumental in fighting against deeply entrenched American isolationism. When, in 1917, the United States entered the war, Raemaekers embarked on a lecture tour of the USA and Canada, rallying the new allies for support and arguing the case for mobilisation against the German Empire. The Christian Science Monitor commented “From the outset his works revealed something more than the humorous or ironical power of the caricaturist; they showed that behind the mere pictorial comment on the war was a man who thought and wrought with deep and uncompromising conviction as to right and wrong.” All too often art critics, art historians, aestheticians, and others have dismissed cartoons and caricatures as silly — not serious — trivial, and irrelevant. Yet, as you will see with the cartoons in this first volume, here are cartoons and caricatures that, in retrospect, possibly had more effect on the German High Command and German populace than possibly a new Allied offensive, giving weight to the adage “The Pen is Mightier than the Sword.” - if only pen and paper could have been used to greater effect in this, the Great War.
Herein are 20 illustrations made during the winters at Ypres and on the Somme by Will Dyson, even though he was wounded in their making. Dyson (1880 – 1938) the official illustrator for the Australian Imperial Force (AIF). They reflect the misery and the depression of the material conditions of these campaigns than it does any of the soldiers exaltations or the typical cheerfulness which accompanied the Anzacs. It is always difficult for a creative person, like an artist, to remain positive when faced with the horrors of war, but especially the horrors that WWI, the first modern war, brought. However, it is the soul rather than the body that he has drawn here, drawn out in long fantastic lines. In any case the lightest, wildest or even crudest sketch scratched down by Dyson has always had more of the true grip of gravity than the whole of the Royal Academy. Indeed there is something significant in all that white light and sharp shadow which belongs to such dramatic scenes, and is so favourable to the art of black and white. There is even something of allegory in that awful and empty daylight in which armies live, so often without a stick of roof or a rag of curtain. All the soldiers in a great war are historical characters; but these are rather specially standing, not against court or camp, but only against the sky. They are under a light which will indeed prove eternal; even as compared with other historic groups their contribution has been written into the annals of history and will continue to be known forevermore. 10% of the net sale will be donated to charities by the publisher. ============== KEYWORDS/TAGS: Australia at War, Will Dyson, World War One, World War 1, World War I, WWI, WW1, official, illustrations, Australian Imperial Force, AIF, twenty, 20, Australian, ANZAC, New Zealand, Kiwi, Okker, Aussie, Bringing Up The Stew, Report, Battery, Dead Beat, The Cook, Group, Looking For, Battalion, Mate, Tunnellers, Under, German Territory, Coming Out, The Somme, Ypres, Battle of, Labour Battalion Man, Back, Waggon Lines, Polygon Wood, Delville Wood, Lightly Wounded, Menin Road, Dressing Station, Stretcher-Bearers, Martinpuich, Peronne, Waiting For The Stew, food, hot, In The Tunnel, Hill 60, Fatalist, Outside, Pill Box, Hanging About, Down, The Ridge, France, Flanders, fields, Pas-de-Calais, Hauts-de-France
