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Click here to subscribe5x Single WW2 German Tunic Shoulder Boards, consisting of a Luftwaffe medical branch NCO’s, sew-in type Luftwaffe medical NCO’s example, German army (Heer) cavalry NCO’s combat tunic shoulder board with chain stitched “17” to centre, German Feldpost shoulder board with “FP” cipher to centre and a German Hunting association? Shoulder board. (5 items)
An early brass 4.5in. fishing reel by Army & Navy Cooperative Stores Ltd., engraved mark, diameter 11.5in., with horn handle Condition: Looks to be in good original condition, ratchets in both directions, two drilled holes to the centre boss that may be later alterations or show that something is missing.
An early 20th century Chinese carved and red stained ivory chess set, carved as opposing Chinese armies, king 12cm Condition:White army - good except for tiny chipping to flowers on back of Queens hat, all but two of the pawns have lost their swords, one sword still remains but loose, slight difference in size of some of the pawnsRed army - finial missing from Kings hat, crack running down the side of the Queen, crack through one castle, all but one of the pawns have lost their weapons, two of the pawns broken from the bases, pawns vary in sizeOverall most pieces with some degree of fading or dirt staining.
ROBINSON (COMMANDER CHAS. N., R.N.), CHINA OF TO-DAY OR THE YELLOW PERIL, An Album of Pictures & Photographs Illustrating the Principal Places, Incidents and Persons Connected with the Crisis in China, published by Navy & Army Illustrated, London and by George Newnes Ltd., London, with the inscription 'With the Compliments of the Editor of Woman's Life'.
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) TWO BROTHERSSigned, oil on canvas (Dimensions: 91.5cm x 106.5cm (36in x 42in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
§ MARY FEDDEN O.B.E., R.A. (BRITISH 1915-2012) OPPEDE LE VIEUXLithograph, signed in pencil to margin, numbered 61/150, embossed with Curwen Chilford Studio stamp (Dimensions: 27cm x 36cm (10.75in x 14.25in))Biography: Over her long career Mary Fedden has become one of the nation's most-treasured artists. Writing about Fedden's enduring appeal, Christopher Andreae declared, ‘Her work can become something of an addiction. More than one collector has been known to sleep on the pavement outside a gallery all night so as not to miss the opportunity of buying a favourite.’ Perhaps part of the appeal of her work lies in its apparent simplicity coupled with its exquisite execution, anchored in the long pictorial tradition of Dutch still life and underpinned by her early formation at the Slade School of Art. Indeed, Fedden's is an oeuvre that merits close inspection, and while her concise and effective compositions provide immediate pleasure (demonstrated by their popularity in reproduction as prints and postcards, china and textiles), our delight can only be enhanced by a lingering gaze and appreciation of her painterly skill, her brush strokes as easily identifiable as a signature. After a war spent in the Land Army and as a staff driver in France and finally Germany, Fedden was quick to build on the foundations of her Slade training. Her work was profoundly influenced by the seismic shifts which shook painting in the post-war years and her style moved beyond the muted naturalism of her Slade years. Perhaps the most significant influence on Fedden's artistic and personal development, however, was her relationship with artist and poet Julian Trevelyan, with whom she lived for many happy years at Durham Wharf, on the Thames at Chiswick, and to whom she was married in 1951. Mary Fedden was elected to the Royal Academy and received the OBE in the 1990's. Her work is included in numerous public collections including The Tate Collection, HM The Queen's Collection, and National Gallery of New Zealand.
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) MAN WITH TOWER BLOCKSigned, pastel (Dimensions: 27.5cm x 20cm (10.75in x 8in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) LEERINGSigned, pastel (Dimensions: 27.5cm x 20cm (10.75in x 8in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
§ JULIAN OPIE (BRITISH B.1958) PORTRAIT MINIATURES (SET OF NINE)Including: 'Long Hair Girl. 2016;' 'Dark Glasses Man. 2016;' 'Army Cap Girl. 2016;' 'Knitted Top Woman. 2016;' 'Necklace Man. 2016;' 'Two Earrings Girl. 2016;' 'Flat Cap Boy. 2016;' 'Dark Glasses Woman.2.2016;' 'Baseball Cap Boy. 2016,' framed miniature inkjet portraits with hanging loop, each in presentation box (Dimensions: 7.5cm x 7.5cm (3in x 3in) (Long Hair Girl. 2016)) (Qty: 9)Biography: Julian Opie graduated from Goldsmiths School of Art in 1983 where he was taught by Michael Craig-Martin. Opie has exhibited widely in the U.K. and internationally with major museum shows in Germany, Spain, Italy, China, Japan and India. He is represented by a number of major galleries worldwide and has been involved in a variety of public projects globally. This includes work in Tokyo, Prague, Seoul, London, Hong Kong and New York to name but a few. In addition, Opie’s work is to be found in many public art collections including, Tate, British Museum, Victoria & Albert, National Portrait Gallery, MOMA, and many others both here and abroad. He has also held a variety of one-man shows at major commercial galleries from Tokyo to Mumbai.
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) BETRAYALSigned and dated 2003, charcoal and coloured pastel on brown paper (Dimensions: 39cm x 29cm (15.5in x 11.5in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
§ WILLIAM SCOTT C.B.E., R.A. (BRITISH 1913-1989) BLUE STILL-LIFE - 1975Lithograph, inscribed and dated in plate (Dimensions: 56.5cm x 76cm (22.25in x 30in), image size)Biography: William Scott was born in Greenock, Scotland, in 1913. In 1924, his family moved to his father’s hometown in Northern Ireland, where Scott began art classes with a local teacher. Four years later, he enrolled at the Belfast School of Art, and later moved to London to study at the Royal Academy Schools, initially in the sculpture department before moving to painting. In May 1937, Scott married fellow student Mary Lucas. That same year they travelled to Italy and France and established an art school in Pont-Aven with the painter Geoffrey Nelson. In 1938, Scott exhibited at the Paris Salon d’Automne and was elected Sociétaire. Scott and his family returned to the UK just days before the outbreak of the Second World War. Scott joined the army in July 1942 but continued to paint and to exhibit during the war both in group and solo shows. After the war, Scott became Senior Painting Master at the Bath Academy of Art, at Corsham Court, Wiltshire. During this time, he frequently travelled to Cornwall and became friends with many of the St Ives Group of artists. In the 1950s, Scott became interested in Abstract Expressionism during an extended visit to North America, and it was during this time that his own work also moved closer to abstraction. By 1956, Scott’s success as an artist, both nationally and internationally, allowed him to give up full-time teaching. In 1958, he represented Great Britain at the Venice Biennale, and also exhibited at the 1961 São Paulo Bienal, where Scott won the Sanbra (International Critics) Purchase Prize. Major retrospectives of his work have been held in Zurich, Hannover, Berne, Dublin and Belfast and in 1972, the Tate held an exhibition of more than 125 of his paintings dating from as early as 1938. In 1963 Scott took up a 12-month residency in Berlin and, in 1966, in recognition of his contribution to the arts, he was made a CBE (Commander of the Order of the British Empire) in the New Year’s Honours List. He subsequently received honorary doctorates from the Royal College of Art in London, Queen’s University Belfast and Trinity College Dublin. In 1984 Scott was elected a Royal Academician.
Scarce Nicholas II Russian Army Officers Sword Shashka, slightly curved single edge plated blade cut with multiple fullers and with maker’s stamps at forte, and sharpened for field service, regulation brass stirrup hilt, crowned Imperial cypher to back of pommel, ribbed composition grips, in its brass mounted leather scabbard. Blade 78 ¾ cms. Good untouched condition with some age wear.
English Civil War Period, 17th Century Pikeman’s Pot Helmet, 2-piece skull with turned over seam along the ridge, broad brim with turned over border stamped with crowned JR mark (worn). Generally good condition, worn overall, a little damage. Following James II’s expansion of the Army all weapons, armour and munitions, including items made much earlier, were ordered to bear this mark.
Good Scarce 6 Shot .442” Rimfire Tranter’s Patent Single Action ‘Army’ Revolver No.4000, closed frame stamped W TRANTER’S PATENT 4000, barrel top stamped 458 with mark, frame and barrel retaining much original blueing, polished side lever ejector stamped W TRANTER’S PATENT, and 45, side gate loading, colour hardened cylinder stamped 45, Birmingham proofs, one piece chequered walnut grip, side plate lightly scratched with pawnbroker’s mark 93/703. Overall 31cms, barrel 16cms. Good condition.
A good collection of stamps in presentation sleeves to include part sheet uncirculated for Scouts, Grenada, Sharjah etc along with 2$ lest we forget stamp, philatelic auction lots of stamps in presentation sleeves and bags still including Tonga, Italy, Army and Admiralty Official stamped, Mauritius, United Nations collectable stamps 20th century and others, South African and other commonwealth, block sheets of German stamps etc
Artist Duncan Grant hand written letter 1972 which revived many memories with Clives which I am glad to have. Duncan James Corrow Grant was a British painter and designer of textiles, pottery, theatre sets and costumes. He was a member of the Bloomsbury Group. His father was Bartle Grant, a "poverty-stricken" major in the army, and much of his early childhood was spent in India and Burma. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Artist Duncan Grant hand written note on postcard regarding Joe Ackerley. Duncan James Corrow Grant was a British painter and designer of textiles, pottery, theatre sets and costumes. He was a member of the Bloomsbury Group. His father was Bartle Grant, a "poverty-stricken" major in the army, and much of his early childhood was spent in India and Burma. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
A .36 RIMFIRE OBSOLETE CALIBRE FIVE-SHOT ARMY AND NAVY REVOLVER, 5.25inch sighted octagonal blued barrel engraved with the retailer's details, border engraved blued frame, chequered wooden butt, cylinder spindle warped, together with another smaller in .32 rimfire obsolete calibre, the latter with action and frame faults. (2)
A CLEAN .44 CALIBRE SIX-SHOT REMINGTON NEW MODEL ARMY PERCUSSION REVOLVER, 8inch sighted octagonal barrel stamped with the manufacturer's details, serial no. 89306, brass trigger guard, two-piece wooden grips,. Retains virtually all of its original blued finish to the barrel and frame with losses only to the back and fore strap and cylinder, chip to left grip toe.
A VICTORIAN RIFLE VOLUNTEER'S OFFICER'S SWORD, 82.5cm plated blade by Hawkes & Co., some lifting, etched with scrolling foliage, RIFLE VOLUNTEERS and a crowned VR cypher, regulation Gothic hilt, wire bound fishskin grip, worn, contained in its steel scabbard, together with an 1897 Pattern Indian Army NCO's sword, dated 1901, the hilt and mounts painted gold. (2)
Quantity of various makes. A 1:96 scale American Ford 'Rick Mast' articulated race car transporter in Skoal Racing livery, in a perspex display case. 2x Joal - Volvo FH12 cement silo truck. Plus a Volvo FH12 3 axle tipper truck. Siku Mercedes-Benz 1857 articulated truck in McCain livery. 4 Solido - Kaiser Jeep, U.S. Army Cadillac Staff car and 2 Bugatti, variations.6x EFE Leeds Tramcars. A Harrington Grenadier, RT double deck bus, Leyland PD1 and a AEC Routemaster L.T. 2x Vitesse - Chrysler Windsor Sedan and a 'Hippy Style' Volkswagen. 4x Maisto Smart for Two Smart Cars, colour variations. 2x RIO, Bugatti T50. Oxford 1:43 Bedford CA van, P.O. Telephones. Victoria Mercedes 170V Wehrmacht car. Vanguard Thames Trader Castrol. Atlas Jaguar Mk2 Police. A Thrust SSC Record Car. Plus a Quartzo Lotus 72D, etc. All boxed, minor wear to most. Contents VGC-Mint. (40) £80-100
A quantity of Dinky Military Vehicles. 3-ton Army Wagon (621). Army Covered Wagon (623). Army 1-ton Cargo Truck (641). All boxed, some wear/damage. Together with unboxed items: Thornycroft Mighty Antar Tank Transporter. Scammell Recovery Tractor. Foden 10-ton Army Truck. Army Covered Wagon. Mini Moke with cradle. Army 1-ton Cargo Truck. Scout Car and French Dinky Char A.M.X. QGC-VGC, camouflage over-painting to one. (11). £80-100
A scarce post WW1 Britains 'Types Of The British Army Royal Army Medical Corps (Red Cross) Waggon. 4 wheeled wagon painted In dark grey with silk tilt, with two seated medical orderlies, pulled by 4 dark brown horses, two with riders. All figures in lighter khaki uniforms with peaked caps. In a red paper covered box with applied label to lid, minor age wear. Contents VGC-very minor chips only. A fine example. £100-150
A quantity of Dinky Military. 25-Pounder Field Gun Set (697). Comprising Field Artillery Tractor, field gun and trailer. Plus a 10-ton Army Truck (622), An Army 1-ton Cargo Truck (641), 2x Austin Champ (674), 6-wheel covered wagon (without tilt) and a packet of 12 Army Personnel - seated (603). Most boxed, minor/some wear/damage. Contents GC-VGC. £70-90
Britains British Army Infantry Square. Comprising 3 Officers standing with binoculars, 2 mounted, plus soldiers - 37 kneeling at the ready, 8 laying firing rifles, 33 standing with rifles at the ready, plus a drummer boy. Post WW11 issues in 1900 style scarlet uniforms with peaked caps. (84) £60-90
John Swatsley (American, B. 1937) "Spanish Imperial Eagle" Signed lower right. Original Acrylic on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the U.S. 14c Official Mail stamp issued January 29, 1985. The eagle is truly one of the most majestic of all birds. Even early man was awed and inspired by the eagle. The symbol used by the Sumerian city of Lagash in three thousand B.C. was an eagle, which was engraved on the tablets and seals of the leaders and was carried as a military standard by the army. The eagle also appeared on the seals of early Kings as well as on ancient coins. The early Greeks considered the eagle a messenger of Zeus and it was supposedly the only bird allowed to live in heaven. This was perhaps because of the eagle's ability to soar out of sight, or, in the minds of the Greeks, to heaven. One of the Greek myths also tells of the young shepard boy, Ganymede, who was carried off to Mount Olympus to serve as cupbearer to the gods. To this day, eagles are used as symbols of pride and nobility. The beautiful Spanish Imperial Eagle depicted on this First Day Cover, is one of the smaller of the eagles. It lives in densely wooded areas and feeds on small animals like rabbits and squirrels. Unfortunately, because of both destruction of its natural habitat and overhunting, the Spanish Imperial Eagle is now extremely rare. Image Size: 14 x 11.5 in. Overall Size: 20.5 x 18 in. Unframed. (B09485)
Charles J Lundgren (New York, Connecticut, 1911 - 1988) "U.S.S. Minnesota" Signed lower right. Original Oil painting on Artist Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood Commemorative Cover for the U.S.S. Minnesota. The wooden steam frigate U.S.S. Minnesota served with distinction as the flagship of the Union's Atlantic Blockading Squadron during the Civil War. Originally commissioned on 21 May 1857 with Captain S.F. Dupont in command, the U.S.S. Minnesota began her career as a member of the East India Squadron. She carried U.S. Minister to China William B. Reed to the Treaty Conference in China and returned him home, arriving in Boston Navy Yard 2 June 1859. She was then decommissioned and remained in Boston until the outbreak of the Civil War. The U.S.S. Minnesota was recommissioned 2 May 1861 with Captain G.J. Van Brunt in command. As flagship of the Atlantic Blockading Squadron, U.S.S. Minnesota had achieved lasting fame on 14 May 1861 off Hampton Roads, Virginia. That day, she captured three Confederate Schooners laden with supplies. The Mary Willis, Delaware Farmer and Emily Ann, were all taken. During the next five weeks, the U.S.S. Minnesota went on to capture the barks Winfred and Sally Ann as well as the Mary Warick and the schooner Sally Mears. In August of 1861, she participated in the Army-Navy expedition against the Confederate forts at Hatteras Inlet, North Carolina. Barely six months later, the U.S.S. Minnesota was grounded as she engaged a number of Confederate warships off Newport News. Image Size: 25 x 27 in. Overall Size: 25 x 27 in. Unframed. (B10793)
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