Bonaparte (Joseph) Sculpte par Delaistre
S.A.I. Le Prince Napoleon (Joseph Charles Paul) Commandant le 5e Corps de l'Armee d'Italie
The rock at St Helena (the last sketch of Delaroche)
Napoleon au bivouac, la veille d'Austerlitz
Bas-relief of medallion of Napoleon Bonaparte by Boizot. Original in the collection of the Historical Society of Pennsylvania. Painted gold. Signed and dated.
Round portrait panel painting of St. Catherine of Alexandria. Her right hand rests on a wheel, referring to her death. She holds the palm of martyrdom in her left hand. According to Hopkinson family tradition, this unsigned, late Renaissance painting of St. Catherine of Alexandria was given to Mrs. Joseph Hopkinson by Joseph Bonaparte prior to his departure from "Point Breeze." It descended to Miss Emily G. Hopkinson from whom the donor acquired it for presentation to the Athenæum. During the early 19th century such "primitive" works were popular with collectors such as Joseph Bonaparte's uncle, Cardinal Fesch, from whom Joseph acquired several of his paintings.
Oval pencil sketch (landscape) by Charlotte Bonaparte (1802-1839), daughter of Joseph Bonaparte. Signed "C. 1823" and inscribed: "20 Juillet 1833 / un Souvenir / de Joseph Bonaparte / a son ami Short / Peintre par/ Charlotte [?] fi." Also a later inscription: "20th July 1833, A Souvenir / of Joseph Bonaparte / to his friend Wm. Short / Drawn by my daughter / Charlotte. / C.W.S. / Jan. 1850." Set into a rectangular wooden frame 6 1/2" x 5 1/2".
Porcelain urn with two handles. Made in France. Handles are molded, with shell and medallions at top, terminated by acanthus leaves. Piece is overall gilt, except thin bands left white at base neck and outer lip. Overglaze polychrome enamel painting on obverse; burnished floral motif on reverse. Clear glaze on inside of urn. Upper and lower portions of urn made in two pieces and bolted together below the painted panel. (This is different from the construction of other, similar pieces which are bolted together at the base of the urn and the top of the pedestal). The painted scene shows a young man leaning down to offer water from a spring pipe to a young lady leaning on the rocks. Both are dressed in classical garb, he in purple and she in yellow.
These elegant fruit baskets are examples of French porcelain imported into the United States in the first half of the nineteenth century. The baskets, decorated with bands of green glaze and gilt, have caryatid supports of bisque porcelain. These kneeling winged winged figures are attached to the base and baskets by bolts inserted through a hole in the body of the piece and secured with screws. This technological innovation in ceramics manufacture, based on the technique used by French silversmith Jean-Baptiste-Claude Odiot (1763-1850), permitted more efficient assembly and greater flexibility of design.
Bust of Napoleon Bonaparte, with head facing forward, in the Imperial Roman portrait form. 1,200 versions of this official bust (Napoleon's favorite, based on Antoine-Denis Chaudet's 1799 modeling) were carved at Carrara, Italy.
When Napoleon died at St. Helena on May 5, 1821, his doctors -- Francis Burton and Francesco Antommarchi -- made a gypsum cast of his head. With the rehabilitation of the former French Emperor's reputation in the 1830s, Dr. Antommarchi produced plaster and bronze copies from the original death mask mold which he sold by subscription. Dr. Antommarchi later emigrated to Cuba where he met the young Philadelphia-born physician Richard Wilson to whom one of the plaster subscription masks was given. Dr. Wilson's son brought the mask to Philadelphia in the late 19th century and it descended through the Wilson family.
Paperweight of stone used at the Invalides
Carved ivory profile bust of Napoleon I, in low relief. Faces left, wears military uniform with epaulette. Mounted as a paperweight on a regular red and gray variegated marble plinth. Typed note taped to bottom: "Napoleon's remains were brought from St. Helena to Paris in 1840, and his tomb at the Invalides was constructed in the period 1843-1861. My grandmother, Mary Middleton, went to the tomb at some time during this period and secured from a workman there this piece of Finnish marble, on which she had placed this bas relief. W.L.F." (William Logan Fox, brother of donor.)
Standing figure of Napoleon. His right hand is raised, holding his hat and his left hand rests on his sword at his side. The figure is cast in bronze with a light brown patina. Bronze is bolted to a brown marble base. Stamped on back of brass: GESCHUTZT (patented)
Framed circular Parian portrait medallion of Napoleon III. Inscribed at bottom: J PEYRE NIEUWERKERKE DIR
Napoleon aboard the Northumberland on his way to exile on the island of St. Helena in 1815. Verso has inventory label with "4401/Napoleon I" in pen and ink and presumably a French, 19th century hand.
Portrait of Napoleon shown in a 3/4 view. Below is an eagle brandishing a sword in its claw and labeled France underneath.
日清戰爭 金州城追撃之圖 Nisshin sensou Kinshuujou tsuigeki no zu Sino-Japanese War: Pursuing the Retreating Enemy at Jinzhoucheng
Japanese army storming the gates of the walled city of Pyongyang
Kaiyo Shima Oki Saikyomaru Funsen no Zu Sino-Japanese War, The Warship Saikyomaru
牙山凱旋歓迎之図 Gazan gaisen kangei no zu Welcoming the Triumphant Japanese Army
Adachi Ginkō (1853-?), Artist Sugiyama Hori Ei, Engraver
Daikosan ooki kaigun daishou Great Naval Victory On the Sea off Daikosan
清軍之将葉志超朝鮮官妓携敗走之図 Chinese General, Ye Zhi Zhao, with his Korean Concubine Retreating from the Japanese Army
Parts 1 and 2 of a triptych. Athenaeum does not have the 3rd part
日清戰爭鳳凰城大勝利ノ圖 Nisshin sensou, Hououjou daishouri no zu Sino-Japanese War: Picture of the Great Victory at Fenghuang
日清戰爭日勢平壌勝捕圖 Nisshin sensou, Nissei Heijou shouhou zu Sino-Japanese War: Japanese Military Might Captures Pyongyang
鎮川地方五名日本工兵清兵百餘人撃退 Chinsen chihou ni gomei no Nihon kouhei Shinhei hyakuyonin gekitai In the Jincheon Region, Five Japanese Military Engineers Repel the 100 Remaining Troops
大日本帝國萬々歳平壌激戦大勝之啚 Dai Nippon teikoku banbanzai, Heijou gekisen taishou no zu The Empire of Japan's Victory: A depiction of the great victory at Pyongyang after a hard fight
Firing Cannon from Battleship around Haiyang Island
元山行進日清両軍平壌大激戦之図 Wonsan koushin Nisshan ryougun dai gekisen no zu March from Wonsan, This is a depiction of the opposing armies of the Sino-Japanese War at the Great Battle of Pyongyang
Nakamura Shūkō (Japanese, active 1894-1904)
向處無敵 平壌陥落 Mukau tokoro muteki Heijou kanraku Toward this place unrivaled, The Fall of Pyongyang
A six panel set (The Athenaeum does not have the 4th and 5th panels)
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Gilbert's Studio (Where Washington's Portrait was Painted)
Holes in Fence on Johnson Place made by British in Battle of Germantown
Concord School House and Upper Ax Burying Ground