Buy original artwork Reconnection 2 European rollers meet each other 2023 by KARINA DANYLCHUK | Painting , 300gsm cotton paper, ➽ Digitally Signed by KARINA DANYLCHUK and secured on Blockchain

Many of our fathers and grandfathers fought in Korea - the war with no beginning or end. Although called the Korean War by many, Congress never declared an act of war so it is still technically the "Korean Conflict". And since no peace treaty was signed, it has never really ended. American troops are still stationed in Korea. These are some of the men who fought, played, and were killed, in the conflict that began in 1950.

Paul Nash was 25 at the outbreak of the First World War. He would come to see himself as a messenger to those who wanted the war to go on for ever, creating some of the most devastating landscapes …

This extremely detailed two volume set gives an overall statistical summary of 8th Air Force fighter operations during World War II. Covering the period of September 1942 through the end of the war in May 1945, the story of the 8th's fighters is presented in an easy to read format. Each volume also contains over 170 photographs of the pilots and their aircraft. Over the years, many books have been written about the 8th Air Force, but none have combined all the details that appear in these volumes - volume one combines the 8th Air Force's day-to-day operations with individual unit histories; volume two lists all scores and ace details. Kent Miller's books are an invaluable aid to the researcher and historian.

You wouldn't think it (mainly because it's embarrassing), but there was a time that Australia decided to go to war against the Emu...and lost. At first, you're thinking 'No Way", they're just big, dumb birds, but these guys brought the Australian Army to their knees. No one talks about the Great Emu War of 1932,…

"A flock of birds suddenly shattered out from the trees and close on their heels a much bigger creature armed with a huge bronze axe charged towards us. It crashed through our shields and began chopping to left and right. It took twenty-three crossbow bolts to fell this mighty Lizard-warrior because its thick scales which covered its carcass provided better protection than even the lacquered scale armour worn by the Emperor's bodyguard." —The Voyage of Yin-Tuan to Lustria, circa 1690 IC.[4a] The

Parachute packers prepared the chutes that meant the difference between life and death for a man plunging from the sky.

Bird Art Bulgaria not just recreate antiquity, they interpret historical artifacts and make art. These antique gladiators` helmets are copies but also original artistic interpretations through which authors show the aesthetics of an era.Gladiators and warriors with their helmets are central figures in the ancient world history – Hellas, Thrace, The Roman Empire. All of these epic eras have their war accessories, held till now in the archaeological layers.This helmet is part of the author's collection Bird Art Studio Bulgaria and is inspired by artifacts and part of ancient history. IMPORTANT TO READ: This helmet is for sale without a mask! If you would like a helmet in combination with a mask, please let us know. We don't have premade masks. We have one mold per mask model.Construction time is about 1- 2 weeks, but may vary depending on the number of orders currently in our construction queue. Please feel free to contact me about the current wait time. Please note that this helmet is designed for people with a head circumference of less than 60 cm or 23.5 inches. If you want this helmet and have a size over this gauge, please contact us. More information https://www.facebook.com/Bird-Art-Studio-1408946552702879/timeline/?ref=aymt_homepage_panel This is a beautiful Roman Gladiator helmet style . This helmet is made of bronze powder material polyester resin, fiberglass and chemical patina for completion , giving the piece a classic appearance. Every piece is unique because it is hand made. Ansient Roman real size great helmet. The way it is set up is handmade. Sculpture of the model, creating a mold and casting of a bronze powder, polyester resin, glass fiber and chemical patina for completion. Helmet sold without pedestal. We are introducing our original interpretation of ancient helmets of the Roman era. Respected by the power and strength of the men who wore helmets, we as artists sculpt models that have become emblems of his era. Gladiator helmets in this exhibition is an opportunity to look closely at antiquity, to make sense of the history of the details , to imagine life and daily life 2,000 years distant from us. Roman Gladiator helmet can be a decorative element in your office, home, and spectacular gift for your loved ones or business partners. Roman Gladiator may be worn and be part of your props. Please note that items shipped to all other countries outside Bulgaria will take 10 to 25 working days to reach you. Each item is sent with Priority shipping and your items usually arrive in: ✈ USA & Canada ~ 10-25 days ✈ EU ~5-10 days ✈ Australia, NZ ~10-25 biz days This is our second store: https://www.etsy.com/shop/ArtPortal22?ref=seller-platform-mcnav

Retired Sheriff Bob Winter (Santa Clara County, California) now lives in the Sierra Nevada foothills, with his wife, Carolyne and their dog, Molly. He is as comfortable in his workshop with home improvement projects, wood carving, exotic wooden chests, garden art, and bird houses, or in his garden with plants and masonry projects, as he is with researching American and family history.Bob was raised on a ranch in southern Santa Clara County, facing many of the same experiences he ascribes to his principal character, Jesse Logan, a name he borrowed from a great-grandfather. To some extent, the story Bob writes mirrors his own life story, finding his way from a deputy sheriff amongst the 5,000-member force of Los Angeles County Sheriff's Department to the position of Sheriff of Santa Clara County (Silicon Valley), California. Like many of our readers, he has never been without hostile opposition in his own career, whether it be from a disgruntled, but politically connected co-worker, or a superior officer critical of his sometimes impulsive approach to his work as a peace officer. The story he has provided weaves history, family tradition, and fiction as Bob follows the life of a young man from boyhood to adulthood and from the Great Smokey Mountains to Carson Valley, Nevada, through the course of the Civil War. His experiences as a boy in 'Carson County', Nevada put him in a position to take an assignment in the Union Army as a rifleman, or 'sharpshooter' leading him through some near-death experiences to finally survive the war.The story follows actual events throughout the Civil War, using authentic members of the opposing armies as supporting characters for the adventures and misadventures of the principal characters. The author has used the character and personalities of people in his own life to provide authenticity to the players in his tale. Many of the characters in Sheriff Winter's story are recreations of real people, including some of his own family, who settled first in Guilford County, North Carolina, where his 4th great grandfather, a second-generation colonist, was a colonel in the British occupational army, leading the British forces against members of his own family in the American Revolution. Later in the family history, they settled in the Carson Valley, leaving their mark in both of those places. One product of (3rd great grandfather) Ben Jones' handiwork can be seen in the Mormon Station Museum in Genoa, Nevada, and the 'town' of Spurgeon, Tennessee was named for some of Bob's own ancestors. Bob's family has been in cattle ranching for generations, and several of the supporting characters in the story are taken from tales of the old west as conveyed by Bob's father Rowland Winter. In some places he has used the actual names and personalities of real people in his past, and in other places, he uses pseudonyms for obvious reasons.

This is James Dietz limited edition art print - "Early Launch". Image Size: 28" x 14 1/2"Overall Size: 34" x 21"500 Public Edition (Limited Edition, Signed and Numbered) FramingWe offer fine custom wood framing using the latest conservation materials and techniques. Each print is triple matted using only acid free and high quality materials. Doolittle's Raiders One of the most daring aviation exploits of the Second World War took place on the 18th of April 1942. Led by Lt. Colonel James H. "Jimmy" Doolittle, sixteen Army B-25s took off from the crowded deck of the U.S.S. Hornet and headed for their targets in Japan. This guts-and-glory mission was the culmination of four months of planning, hard work and training for the 90 volunteer crewmembers that would fly the extremely dangerous mission. It was designed not just to strike at the heart of Japan, but to bolster the sagging morale of the United States in the dark early months of World War II. It would also force Japan to reconsider its defense of the empire and lead its military into its first strategic mistake, the decision to take Midway. Assisted by Naval experts, principally Lt. Henry Miller, the "Army Crows," as they were called, started practicing carrier deck take-offs in March 1942, with their medium bombers at Elgin Field in Florida. They would need all the practice they could get. It would be the first time such large bombers would be launched from a Navy carrier on a combat mission. By the end of the month, they were ready and flew cross-country to hook up with the Navy task force waiting for them in Alameda, California. On April 1, the aircraft carried U.S.S. Hornet had been loaded with the bombers and set sail from its berth to meet the rest of its task force in the Pacific. During the next tension-filled days its proceeded to the desired launch site for the Army bombers, and for the next seventeen days, the task force sailed deep into the Japanese controlled waters. The bombers were to be launched late in the day on the 18th, close enough to Japan that they could continue east and conduct emergency landings on makeshift airfields set up for them in China. Unfortunately fate had other plans. A Japanese picket vessel sighted the task force at 7:38 a.m. Although this ship was eventually sunk by Navy gunfire, it was decided to quickly launch the Army Raiders and get the carrier task force out of harm's way, even though they were well short of their desired launch point. The B-25s had been "spotted" on the stern of the Hornet, to give them the longest possible distance for the deck launch. Frantic last minute preparations were made including additions to armament, topping off gasoline tanks and giving out extra fuel cans in hopes of making up for the additional distance they would have to fly. Navigators reviewed their maps to make the necessary adjustments in their flight plans, while pilots and co-pilots worried about their first actual carried takeoff with fully loaded B-25s. In Early Launch, Colonel Doolittle and his co-pilot, Lieutenant Richard E. Cole, who were to be the first to take off, discuss last minute instructions with Lieutenant (U.S.N.) Edgar Osborne, who was to be Launch Officer for the take-off. Other Army personnel scramble to their planes while Navy deckhands man their assigned positions for launch. All the aircraft were successfully launched off the pitching deck of the Hornet and, despite some opposition in route, reached their targets. The Japanese cities of Tokyo, Yokohama, Nagoya, Osaka and Kobe were completely surprised by the sting of U.S. air power. The entire empire of Japan was shocked by the first of what was to become many U.S. bomber raids over its cities. The B-25s continued southeast to China where, late at night, the crews bailed out of the aircraft that were nearly out of gas. Two crews were captured by the Japanese and made to endure torture, imprisonment and death at the hands of their captors. One crew was interned in Russia, but the other crews, with heroic help from the Chinese, eventually found their way to Chungking. From their they were flown out of China and back to the United States. Many details of the raid had to be kept secret from the American people. Roosevelt even quipped that the bombers had been launched from Shangri-La, the mythical kingdom in Last Horizons. But news of the first bombing raid on Japan, even with minimal damage, was a tonic to all Americans, who were just getting over the shock and humiliation of the Japanese surprise attack on Pearl Harbor and subsequent losses all over the Pacific. It was as it to signal the changing tide. To paraphrase Winston Churchill, "It was not the Beginning of the End, but perhaps the End of the Beginning."

The Imperial War Museum have shared this remarkable collection of iconic World War One art, showing the creative process from sketch to final painting.

Dorian Lynskey: The Native American headdress is a common sight at festivals. It has also been appropriated by fashion brands and stars such as Pharrell Williams. But many are now fighting back against what they see as a crude act of racial stereotyping

For hundreds of thousands of families around the world, 1945 marked the first happy Christmas celebrated together after the sad and lonely years of war.

Animals were used in World War I on a scale never before seen—and never again repeated. Horses by the millions were put in service as cavalry mounts and beasts of burden, but they were not the only animals active in the war. Mules, dogs, camels, and pigeons all played vital roles, as well as many others—all at great risk, and with heavy cost.

British rock band The Rolling Stones (L-R; Bill Wyman; Mick Jagger; Keith Richards; Charlie Watts; Brian Jones) during a photoshoot for Queen magazine’s feature ‘How to kill five Stones with one Bird’, in 1964. Norman Parkinson (1913-1990) was the Twentieth Century’s most celebrated fashion photographer. He pioneered epic storytelling in his images, taking portrait and fashion photography beyond the stiff formality of his predecessors and injecting an easy and casual elegance into the art. His photographs created the age of the supermodel and made him the photographer of choice for celebrities, artists, Presidents and Prime Ministers. He was a permanent fixture at historic moments photographing the British Royal Family, in private and public, as well as leading figures from the worlds of film, theatre, and music. Subjects include Audrey Hepburn, The Beatles, Twiggy, Grace Coddington, David Bowie, Iman, Jerry Hall and countless others. In a career that spanned seven decades, Parkinson dazzled the world and inspired his peers with sparkling inventiveness as a portrait and fashion photographer. Parkinson worked for a wide range of publications, notably Vogue, Harper’s Bazaar, Town & Country and other international magazines, which brought him worldwide recognition. He reinvented himself and fashion photography throughout his career, from his ground-breaking, spontaneous images of the 1930s, through the war years and the Swinging Sixties to the exotic locations of the 1970s and 1980s. By the end of his life he had become a household name, the recipient of a CBE, Honorary Fellow of the Royal Photographic Society, and the subject of a large scale retrospective at the National Portrait Gallery, London. And yet fewer than 200 of his photographs have ever been seen or exhibited outside of their initial publication and his archive of more than 500,000 images provides a historic record, rich to explore. Norman Parkinson died whist on location in Singapore shooting for Town & Country in 1990.

Four nurses are standing by their beds with a matron sitting at her desk in the middle. There are beds down either side of the ward and recuperating soldiers can be seen. The nurses are all wearing cumbersome, white clothes. Field hospitals were often close to the Front Line and nursing was one of the few jobs which allowed women to participate at the Front. The Voluntary Aid Detachment and Red Cross were two British organisations which were involved in tending the casualties of war. [Original reads: No original caption.] digital.nls.uk/74546144

This book is about the men of the 79th Fighter Group on the "forgotten" Mediterranean front in World War II. It tells who they were, what they did, and because it is set in the broader context of the entire conflict in that theater is shows how the war on the ground influenced their war in the air. The 79th spent much

Landsturm soldiers with an 08/15 machine gun and signal equipment. Their equipment suggests that they are not in a quiet sector.

In June I wrote about Victorian attitudes to animal rights, including vegetarianism and the birth of the NAVS (National Anti Vivisection Society) and the RSPCA (Royal Society for the Prevention of Cruelty to Animals) Following this, I spoke with Jayne and was thrilled when she agreed to write a guest post for me on the RSPB (Royal Society for the Protection of Birds) and how it came about. I knew Jayne had an extensive set of historical photographs, and I was thrilled when she decided to include some of them to accompany her article. The photos’ included in this post are probably the best on this blog anywhere. Quite enough chatter from me, here is Jayne’s guest post: Many dress history enthusiasts would agree that sumptuous feathers and plumes have helped to create some of the most visually stunning millinery, accessories and trimmings over the centuries. But beneath the glamorous paintings, fashion plates and photographs and carefully-preserved hats and costumes lurk cruelty and devastation – disturbing facts that reveal the dark side of fashion. An obsession with feathers Since the Middle Ages birds’ plumage has played a significant role in western dress. As early as the 12th century feathers were used to embellish Venetian masks and by the 15th century feathered trimmings were an established element of aristocratic dress, expressing wealth and status. Ostrich feathers were worn with jewels as hat decorations during the Tudor era and single ostrich feathers or plumes (clusters of feathers) remained fashionable over hundreds of years. Other feathers in vogue during the 17th and 18th centuries included osprey, heron, peacock and even vulture feathers, worn with a flourish in vast hats or ornamenting the exaggerated ‘macaroni’ wigs of the 1770s - described by the artist and writer, Mrs Delany, as ‘waving plumes, preposterous Babylonian heads towering to the sky’. By the later 18th century, the fashion for feathers had extended lower down the social scale, leading to the near-extinction of wild ostriches. In the 1820s and 1830s, ‘Romantic’ extravagance influenced fashion and as garments, headwear and other dress ornaments grew ever more exuberant and inventive, fur and feather accessories were much admired, from swansdown boas (‘tippets’) and enormous fur or feather muffs, to wide-brimmed hats trimmed with ostrich or marabout stork feathers. Ostrich plume headdresses were also a requisite of Court dress – a tradition that prevailed through the 18th to 20th centuries. 1820 Fashion plate from La Belle Assemblee showing Court dress and ostrich plumes. Victorian novelties As material wealth increased for the rising Victorian middle classes, so the pace of fashion accelerated and the desire for display and novelty became more pronounced. At the same time colonial expansion across the globe and the exploration of distant lands introduced new and ever more exotic commodities and natural specimens to European markets: these included previously unknown varieties of birds, fuelling the fashionable demand for feathers, wings and even entire birds to decorate hats and other articles of dress. To the plumage of numerous native British birds such as grebes, gulls, egrets, herons, finches, jays and pheasants – to name but a few - were now added a rich and vibrant assortment of feathers and body parts of exquisite and, in many cases, rare species of bird including the humming bird, lyrebird, bird of paradise, quetzal and scarlet tanager. Fashion’s favourite Early in the Victorian period feathers were used mainly for millinery: for example in the late 1830s and early 1840s the precious male bird of paradise plume was much admired for bonnet trimmings. By the late 1850s hats were returning to fashion - headwear that provided a solid base for decoration and heralded the era now recognised as the most destructive for the world’s bird population – the years broadly spanning 1860 until 1921. Neat hats of the 1860s were often trimmed with the tip of an ostrich feather or a bird’s wing, or were circled with feathers. Then during the 1870s, as fashions grew more elaborate again, there was a marked increase in the use of feathers (and fur) to decorate hats and other items of women’s dress. Feathers were incorporated into day and evening headdresses and hair ornaments and by mid-decade whole stuffed birds were appearing on headwear, mounted on wires and springs to convey an impression of ‘natural’ movement. Carte de Visite, 1865 By this time feathers might also be incorporated into items of jewellery such as earrings and corsage (bodice) ornaments, while stylish muffs were often made entirely of feathers or stuffed with eiderdown. Fans also became ultra-fashionable during the 1870s and 1880s, trimmed with a light feather edging of marabout or formed entirely of natural or dyed feathers of different varieties, including cock, pheasant and pigeon feathers. Screen-type fans were also popular in the last quarter of the century: often these were adorned with a small stuffed bird such as a tiny iridescent humming bird. Late Victorian feather fans The most bizarre and - some would say – repulsive trends in late-Victorian millinery occurred in the 1880s. During the latter half of the decade hat crowns grew tall, offering a generous display area for not only entire birds, perched upright or posed with wings outstretched, but, in the most extreme examples, an extraordinary array of animal and organic matter, from stuffed mice and reptiles to leaves, twigs and grass – a contrived habitat in miniature on the head. As ladies’ hats grew wider and increasingly plate-like during the 1890s, crowns and brims were literally heaped with complex arrangements of bows, flowers and plumage – so much so that it is difficult to find an image of a fashionable late-Victorian hat that doesn’t feature feathers, wings or a whole bird. Hunting, shooting and taxidermy The Victorian passion for birds and feathers and apparent lack of concern about wearing dead creatures on the person went hand in hand with the popular pastimes of hunting and shooting. Many birds whose plumage, heads and bodies ended up as fashionable women’s dress ornaments were unashamedly pursued by sportsmen, who thought nothing of targeting whole colonies of birds. The art of taxidermy had also been progressing since the mid-19th century, reaching its commercial heyday in the 1880s and 1890s – a pursuit that not only complemented hunting and shooting, but was even recommended in contemporary publications as a genteel pastime for women. Chapter Illustration for 'Taxidermy' by Urbino & Day, 1884 Slaughter and carnage Feathers and birds for use in the fashion industry, especially for millinery, fetched high prices and hunters operated all over the world. Both Paris and London were important auction centres but London was the world’s principal feather mart, one London auction record alone listing more than one million heron and egret skins sold between 1897 and 1911. Ostriches were farmed commercially from the late-1880s in South Africa, marking the beginning of a lucrative world-wide industry and introducing more humane methods of obtaining the desirable feathers, although wild ostriches (which can’t fly) were still hunted in some countries, being pursued on horseback until they dropped from exhaustion, then shot or clubbed to death. Many other birds were the victims of shockingly inhumane actions and almost unbelievable cruelty: for example, the wings of living gulls were sometimes pulled off, leaving them to die in slow agony in the sea, while young kittiwakes (a small species of ocean-going gull), whose attractive markings were especially admired, suffered a similar fate - their wings hacked off while they were still in the nest. Other fledglings were left to fend for themselves after the parent birds were thoughtlessly killed. Protest and early legislation In some enlightened mid-Victorian circles there was growing concern about the wholesale destruction of native British birds for their skins and plumage, although motivation was primarily conservationist, rather than emotional, reflecting genuine fears for the future survival of certain species. Particularly worrying was the trade in ‘grebe fur’ - the skin and soft under-pelt of the breast feathers of the great crested grebe - commonly used as a fur substitute in ladies' clothing. Once the fashion for ‘grebe fur’ caught on, the superb head frill feathers of the adult grebes' breeding plumage also became highly desirable in the millinery trade. The feathers could only be taken by killing the birds and as a result the numbers of great crested grebes fell rapidly to the point where they became almost extinct in Britain and Ireland, by 1860. A leading protestor was eminent ornithologist, Professor Alfred Newton, who campaigned especially for the protection of birds of prey and seabirds during the breeding season and was instrumental in seeing the first legislation passed in 1869 - the Sea Birds Preservation Act. This was designed to reduce the effects of shooting and egg collection during the breeding season and gave limited protection to many species including the auk, diver, eider duck, gannet, grebe, guillemot, gull, kittiwake, loon, oyster catcher, petrel, razorbill and tern. Other legislation followed, notably the Wild Birds Protection Act of 1880, but the disturbing trends continued, especially the wearing of ever more exotic feathers in ladies’ hats, which was alone responsible for the extermination of millions of egrets, birds of paradise and other rare species. Royal Society for the Protection of Birds (RSPB) In 1889 the embryonic Royal Society for the Protection of Birds (RSPB) was formed as a pressure group campaigning against the use of bird skins and feathers in the millinery industry. First called The Plumage League, the organisation was founded by Emily Williamson (wife of the explorer and writer, Robert Wood Williamson) at her house in Didsbury, Manchester. The rules of the newly-formed Society were straightforward: ‘That Members shall discourage the wanton destruction of Birds, and interest themselves generally in their protection That Lady-Members shall refrain from wearing the feathers of any bird not killed for purposes of food, the ostrich only excepted.’ (1889) In 1891 the Didsbury group joined forces with Mrs Phillips and the ladies of the Fur and Feather League in Croydon to found the Society for the Protection of Birds. The new organisation began as it meant to continue, producing its first publications in the same year - two pamphlets and three leaflets, including W H Hudson’s ‘The Osprey, or Egrets and Aigrettes. Leaflet no 1: Destruction of Ornamental Plumaged Birds’. In its earliest days the Society consisted mainly of women and, ironically, some of its staunchest supporters were exactly the kinds of high-ranking society ladies who might have been expected to wear fashionable feathers, including the Duchess of Portland, who became the Society's first President, and the Ranee of Sarawak. A number of other influential Victorians, including Professor Newton, also lent their support to the cause of the SPB, which gained widespread publicity, leading to a rapid growth in membership and a widening of its aims. In 1897 the Society acquired its first London offices at 326 High Holborn, with paid members of staff, and in 1898 moved to 3, Hanover Square, renting offices from the London Zoological Society. The growing influence of the SPB led Queen Victoria to confirm an Order in 1899 that certain military regiments should discontinue wearing osprey plumes. Finally, just 15 years after its foundation, the Society received a Royal Charter in 1904 from Edward VII, becoming the Royal Society for the Protection of Birds. Hat, c. 1909 - 1912 The final ban Despite the early success of the RSPB, the international trade in plumage continued to prosper. By 1898 the export of egret feathers from Venezuela had resulted in the killing of up to two and a half million birds, while over 41,000 humming bird skins from Central and South America were sold in London during 1911 alone. The Edwardian era produced some of the most lavish and decadent displays of feathers in dramatic hats and sinuous trailing boas, a fashionable trend that ensured the continuing endangerment of many bird species worldwide. In 1908 the Importation of Plumage (Prohibition) Bill was first introduced to Parliament: this prohibited the importation of the plumage of any bird (including skin or body of a bird with the plumage) into the United Kingdom, with the exception of the plumage of African ostriches and eider ducks. However the bill was not passed for another thirteen years, until 1921, and didn’t come into force until April 1922. By then the world had changed, fashion had moved on and ornate feathered hats and accessories were no longer in vogue. Many thanks to Jayne for agreeing to do this, and for the amazing pictures she sent over to accompany her article. If you like, you can catch Jayne every year at ‘Who Do You Think You Are, Live’ and you can visit her website at www.jayneshrimpton.com