2003, ISBN: a72ab05c57b144478b628b3265b503c2

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1861. Philadelphia, J.B. Lippincott & Co, 1861. 9.3 cm x 13.5 cm. Fold-out Frontispiece, 450 pages. 77 plates with illustrations of various stances and manoeuvres. 12 additional fold-ou… Más…

1861. Philadelphia, J.B. Lippincott & Co, 1861. 9.3 cm x 13.5 cm. Fold-out Frontispiece, 450 pages. 77 plates with illustrations of various stances and manoeuvres. 12 additional fold-out diagrams. Hardcover / publisher's original blue pebbled cloth with gilt lettering and stamp on spine. Blind triple ruling and stamp on both boards. Very good condition with only minor signs of external wear. Corners slightly bumped. Very minor abrasion to cloth at bottom front corner. Very minor closed tear to page 25. Minor foxing occasionally throughout. Signs of dampstaining evident throughout otherwise clean and bright volume. Binding good and firm and tight bookblock. Inked annotation to title page. Ownership annotation to front pastedown. Embossed stamp of Wm B Sprague Jr, 51 State St, Albany on front endpaper. Endpaper also carries pencilled signature of George C Strong dated April 28 1862. Carte de visite of General Strong also loosely inserted. Includes, for example, the following: Title First - Article First - Formation of a regiment in order of battle, or in a line - Posts of company officers, sergeants and corporals / Article Second - Instruction of the battalion - Instruction of officers - Instructions of officers / Title Second - School of the Soldier - Part First - General rules and division of the school of the soldier - Lesson I. Position of the Soldier (No.78). Eyes right, left and front (Nos.80, 83) - Lesson IV. Principles of the double quick step (No.104) / Part Second - General Rules - Lesson I. Principles of shouldered arms - Lesson VI. Bayonet exercise / Part Third - Lesson I. Alignments - Lesson V. Long marches in double quick time and the run (No.406). Stack arms (No.410). Take arms (No.413) - Manual of Arms for the Musket (No.414) / Title Third - School of the Company - General rules and division of the school of the company - Lesson First - Article I. To open ranks (No.8) - Lesson Second - Article IV. To fire by rank (No.58) - Lesson Third - Article V. To march in retreat (No.119) Lesson Sixth - Article IV. Countermarch (No.334) - Instructions for Skirmishers - Music. General Calls - Calls for Skirmishers / Title Fourth - School of the Battalion - Part Fourth - Article III. Formation in line of battle by two movements (No.485) - Part Fifth - Street Fighting / Appendix - Articles of War - Dictionary of Military Words and Phrases etc. From the Preface: "The following system of Infantry Tactics, based upon the latest improvements in French military experience, and adapted to the peculiar wants of our service, has been prepared by order of the United States Government, and is now, after the most satisfactory evidence of its efficiency, authorized and adopted by the Secretary of War for the instruction of the troops." (p.5) Brevet Lt. Col. William J. Hardee, was tasked by the U.S. War Department in 1855 with updating General Winfield Scott's (1835) Infantry Tactics, Or, Rules for the Exercise and Manoeuvre of the United States Infantry. The result was the U.S. Infantry Tactics, for the Instruction, Exercise and Manoeuvres of the United States Infantry. Hardee would later resign his U.S. Army commission in 1861 and served as a Confederate general during the Civil War. He ended that war surrendering to U.S. General William T. Sherman who, along with Ulysses Grant, had emerged as the Union's strategic genius. Some the changes Hardee introduced reflected the growing lethality encountered on the battlefield resulting from the increasing use of rifled weaponry and improvements to artillery. A significant change Hardee made was to increase the speed of the soldiers' doublequick step to 165 steps per minute that, "under urgent circumstances," could be accelerated to 180 per minute (p.24-25). "It is recommended in marching at double quick time, or the run that the men should breathe as much as possible through the nose, keeping the mouth closed. Experience has proved that, by conforming to this principle, a man can pass over a much longer distance, and with less fatigue." (p.26) For the first two years of the war, the Union armies had to use Hardee’s Tactics for the schools of the soldier through the battalion. This volume also contains the 1806 Articles of War prior to the 1863 revisions known as the Lieber Code or General Orders No.100,that were deemed necessary in response to the massive expansion of the US (Union) army during the Civil War, a war which raised a number of unforeseen issues for martial law regarding slavery, operating in hostile areas once formerly (and still officially) U.S. territory, and the treatment of enemy combatants and civilians. George Crockett Strong (October 16, 1832 – July 30, 1863) was a Union brigadier general in the American Civil War. A (1857) graduate of the Westpoint Military Academy, Strong served as an ordnance officer with the rank of lieutenant on the staff of General McDowell at the First Battle of Bull Run. He later served on the staffs of Generals George B. McClellan and Benjamin Butler. In the spring of 1863, he served in the Department of the South, under Maj. Gen. Quincy A. Gillmore. He was wounded on July 18, 1863, while leading the assault against Fort Wagner on Morris Island, South Carolina, and died of tetanus in New York City. He posthumously received a commission as major general, dated from the day of the battle. "Cadet Life at West Point by an Officer of the United States Army" (Boston: T.O.H.P. Burnham, 1862), although published anonymously, is attributed to Strong. The Second Battle of Fort Wagner was the Union attack against the Confederate-held fortified position on July 18, 1863, led by the 54th Massachusetts Volunteer Infantry, one of the first major American military units made up of black soldiers, who, under Lincoln's Emancipation Proclamation, had been able to enlist in the Northern armies, but who were to serve under white officers. The unit had began recruiting in February 1863 a month after the Proclamation came into effect and trained at Camp Meigs on the outskirts of Boston, Massachusetts. Prominent abolitionists were active in recruitment efforts, including Frederick Douglass, whose two sons were among the first to enlist. Colonel Robert Gould Shaw, the son of a famous Boston abolitionists, led the 54th Massachusetts on foot while they charged, and was killed in the assault. Although a tactical defeat, the publicity of the battle of Fort Wagner led to further action for black U.S. troops in the Civil War, and it spurred additional recruitment that gave the Union Army a further numerical advantage in troops over the South. The service of the 54th Massachusetts, particularly their charge at Fort Wagner, soon became one of the most famous episodes of the war, interpreted through artwork, poetry and song. In 1989 the 54th Massachusetts (re)gained prominence in popular culture through the award-winning film Glory. (Wikipedia), 1861, 0, France, Cleveland, and others, 1970. Very Good. France, Cleveland, and others, 1912-1970. Substantial private and professional archive of Cleveland-based artist, ad-man, typographer, designer, and Kokoon Klub member Lawrence Harl Copeland (1889-1977). Collection consists of fifty-seven (57) pieces of correspondence of which fifty-one were written by Copeland to his then-fiancée (and later wife) Helene Bander while a private serving in France during World War I, amounting to 209 pages of text; fifty-nine (59) leaves of sample letterhead designs; thirty-two (32) trade catalogs; fifteen (15) Christmas cards and letters of condolence to the Copelands; nineteen (19) pieces of original art by Harl Copeland; twenty-one (21) maquettes, including early states of plates from the author's work "Pith"; seventeen (17) Christmas cards designed by Copeland, including various states; three publications on typography, one inscribed by the author to Copeland; twenty-five (25) newspaper clippings; a copy of Copeland's artist book "Pith" (1931); two original steel cut blocks for Copeland's Christmas cards; one plaster relief of a nude woman (32.5x28cm.) designed by Copeland for the Kokoon Klub; one oil painting still life by Copeland's fellow Kokoon Klub member William Sommer (1867-1949); and two pieces of attendant ephemera, including a printed slip accomplished in manuscript noting Copeland's entry for the $1000 Sunburst Cover Prize submitted in 1921 while he was employed with Full & Smith; and one invitation to the Kokoon Klub for the Eighth Annual Auction of Kokoon Members, 1930. Copeland's collection of letterhead samples quite dampstained, else the remaining contents of the collection are in Very Good to Fine condition. Substantial archive of the professional and amorous output of artist and typographer Lawrence Harl Copeland. Includes what appears to be the complete cache of his love letters, some with original illustrations of his environs, written to fiancée (and later wife) Helene Bander during his complete tour of duty in France during World War I. The early letters describe his distaste for military service: "the fourteenth district downstairs has everything in the mess hall these foreigners eat like hogs and never take the trouble to pass anything to somebody else" (from Camp Sherman, Ohio, April 29, 1918). Two days later: "Last evening when I was lounging on my cot there thinking of Helene there was a big [crapps] game at the foot. The environment is not one I would appreciate far less enjoy." Of special interest is Copeland's strained relationship with his younger sister Maud during the War, his letter dated May 16 noting "Maud has been inflicted with considerable war propaganda at the college and I get it about every letter from her" while a letter from Maud to Helene dated May 20 notes "I can almost imagine how [Harl] feels with the attitude he has towards the war. With me it would be much different for I think we've either got to beat the Germans or say goodbye to freedom although I don't think Harl is much in favor or our freedom as we'll call it..." Harl's letters cover a detailed visit to his and Helene's alma mater the Pratt Institute in Brooklyn, which he visited while at Camp Merritt in New York, before being shipped overseas to France. Once there the tone of the letters grow increasingly less romantic and more dire, his second letter from France, dated July 5, 1918, noting "just picture me billited [sic] on the earth floor of a French tile factory. Dust, you can't get out of it"; while a few weeks later he notes "There is one member of the Kokoon Klub here in the same regiment and I have seen him frequently. The other day he told me that he had received a letter from the president saying that the Klub has sent us a treat. While we appreciate this very much, and the spirit displayed I cannot say how we would enjoy it if we ever got it." Copeland's vague descriptions of combat are seen keenly through the eyes of the artist, one of the earliest references to immediate danger written on September 15: "I regret very much that I did not make a sketch that evening we were out among those shattered trees. It was cold and somewhat rainy and the sunset was magnificent in color and clouds, and there we were in No Man's Land." The bulk of the combat content only appears at the end of the war, starting with a letter dated November 24: "Two more times over the top, [?], hiking, and lined up again one morning for combat and at eleven o'clock the guns stopped firing. Thus the war ended." In a letter from a week later Copeland expands on his combat experiences, noting that "Clarence sent me a letter telling me not to take any chances with the Huns, and kill everyone and seemed to take it for granted that I had killed some already. Well as yet I have never seen a Dutchman in combat, never shot the rifle, nor ever had an American grenade in my hand. On November ninth I sat in a shell hole all day with machine gun bullets whistling over our heads. The next morning we went over the top and I know what it is to carry a wounded friend off the field." Following his return from France, Copeland married Helene and worked as a graphic and type designer, the contents of the archive including a typescript draft with manuscript corrections of a letter written on Copeland Art letterhead and addressed to the US Civil Service Commission, May 11, 1939: "In answer to my application for Chief Artist Designer I received R. No. 716 January 1939 marking me 50.00 and inelligible...This need not sound ugly but does anyone on the Commission know which letters in the alphabet design are wide, which are narrow and why?" Though he may not have nailed the job application, Copeland's curriculum vitae included advertisement work for Kewpie Dolls (a maquette of which is included here), as well as trade catalogs issued by Ivanhoe Oil-Burning Stoves; the American Fruit Grower, whose Christmas issues for 1936 and 1937 feature cover art by Copeland; Gittelman's Sons fur company; and the Super Flex Oil Burning fridge. Original artwork by Copeland, including portrait and architectural sketches, span almost his entire career, from 1912 to the mid-1960s. A substantial collection detailing the artist at work, at war, and in love., 1970, 3, D. A. P. (Distribution). New. 2003. Hardcover. *** FREE UPGRADE to Courier/Priority Shipping Upon Request *** – – *** IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy, brand new, pristine, never opened -- Corresponds to ASIN: B0013FU3RQ. 164 pp. With 77 ills. 28 x 25 cm. -- with a bonus offer--; 1 x 11 x 10 Inches ., D. A. P. (Distribution), 2003, 6<