World War I Collection - 206 Matching Results

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1778-1783. America owes France the most unalterable gratitude : 1917- -- . French Comrade your children shall be as our children.
Black and white drawing of a soldier saluting the grave of another soldier. A weeping boy and a girl kneeling in prayer are at his sides. In the sky to the upper right there is a faint drawing of a row of soldiers standing guard and a commander on horseback.
[1914 & Other Poems]
Photographs of "1914 & Other Poems" by Rupert Brooke, held by UNT Special Collections. The first image, is of the inside of the book with a faint illustration of a man's profile, the second image the see-through brown piece of paper is turned over to cover the illustration but to reveal the title of the book. Although Rupert Brooke (1887-1915) died before ever seeing battle, he was renowned for his war sonnets. W.B. Yeats noted that Brooke was “handsomest young man of England,” a fact that may account for some of his fame. Educated at Cambridge, he became a thespian, scholar, and soldier. Brooke, commissioned in the Royal Navy, never got to see battle. He died in 1915 at sea from sepsis. An eerie photograph portrait of the author’s profile, dated 1913, appears opposite the title page in this edition. Following the title page with publisher information and the typical copyright statement, we encounter a brief biographical note listing Brooke’s education and war time experience. His five war sonnets, titled “1914,” became notable for their romantic and patriotic view of the war. As a young man, Brooke wrote poems and published in anthologies and periodicals; his first volume of poetry, simply titled Poems, appeared in 1911 and (according to a note printed in this edition of 1914 and Other Poems) was reprinted in 1913 and twice in 1915. The contents of this volume are separated into sections beginning with the war sonnets titled “1914” followed by “The South Seas” and finally “Other Poems.” The last page of the book lists where the book was printed and contains a small slip that is taped to the back page, which was to be affixed to the spine of the book. An original slip is glued on the spine with the title of …
2me Emprunt de la Défense Nationale : en avant, armée de l'épargne, c'est pour la patrie.
A crowd of people hands money to a woman draped in a blue, white, and red French flag and wearing a helmet. The woman stands in front of a winged statue of liberty ("La Marseillaise"). The stairs around her are littered with bills, coins, and money bags. A small cherub figure in a helmet sits near the woman's feet.
[36th National Guard Private's wool jacket, , World War I]
Photographs of 36th National Guard Private's wool jacket from World War I, held by UNT Special Collections. This jacket was worn by George N. Rucker who was stationed at Camp Travis in San Antonio, Texas, during World War I. The first image shows an arrowhead patch with the "T" in the center represents the 36th infantry division of the Texas Army National Guard, which was made up of Texans and Oklahomans. The silver chevron patch lower on the sleeve represents stateside service of at least six months. A second silver chevron patch would have been added for an additional six months served, so we can tell that Rucker only served between six and eleven months. The red chevron near the shoulder represents honorable discharge. Image 2, front of wool jacket with two pockets on the top and bottom of each side and five buttons along the middle.
3e Emprunt de la Défense Nationale, Crédit Lyonnais : souscrivez.
A soldier holds a flag that says "LIBERTE" over a large globe as if to plant the flag on France. Red liquid drips from Europe and down the exterior of the globe to the ground.
3e Emprunt de la Défense Nationale : souscrivez : pour la France qui combat! Pour celle qui chaque jour grandit.
A bearded man in a blue coat and helmet holds a young child in his arms. In front of him, a mother is seated and breastfeeding an infant. The man and child are illustrated in color, while the image of the mother and infant is a black pencil drawing.
4e Emprunt de la Défense Nationale : les souscriptions sont reçues sans frais à la Banque Privée ....
In the forefront is a drawing of a drummer boy marching with a look of surprise on his face. Hovering above and behind him is a female figure in a long dress. In the background are soldiers carrying tattered flags.
[4th Liberty Loan Honor Roll poster, World War I]
Photograph of 4th Liberty Loan "Honor Roll" poster from World War I, held by UNT Special Collections. The poster has an illustration of a red framed flag at the top with four blue stripes down the middle. The words "Help our town win this flag" are in dark blue at the top. Under the flag is the title "4th Liberty Loan" in red. The bottom half of the poster has four columns of numbered lines numbering 1-100.
America Goes Over [Part 1]
First of 5 reels documenting the activities of the American Expeditionary Forces in World War I, with footage featuring shots of European soldiers fighting and the entrance of the United States into the war with soldiers being drafted and trained. It also includes cartoons by famous A.E.F. artist Wally.
America Goes Over [Part 2]
Second of 5 reels documenting the activities of the American Expeditionary Forces in World War I with footage of American soldiers on various assignments in Europe, particularly the Meuse-Argonne battle.
America Goes Over [Part 3]
Third of 5 reels documenting the activities of the American Expeditionary Forces in World War I with footage of U.S. soldiers at camps and during battles at various locations in Europe, including the Saint-Mihiel Offensive.
America Goes Over [Part 4]
Fourth of 5 reels documenting the activities of the American Expeditionary Forces in World War I, including footage of U.S. soldiers in France and the start of the Meuse-Argonne Offensive.
America Goes Over [Part 5]
Fifth of 5 reels documenting the activities of the American Expeditionary Forces in World War I including general footage of U.S. soldiers in Europe as well as troops celebrating news of the November 11 cease-fire, and Joffre, Foch, Pershing, French, and other generals shaking hands.
American Library Association, Library War Service
Poster showing numerous scenes of activities sponsored by the American Library Association Library War Service, including interiors and exteriors of facilities, and military personnel reading and studying.
[American Soldier Ballads, cover]
Photograph of the cover of "American Soldier Ballads" by F.B. Camp, held by UNT Special Collections. The cover is dark yellow in color with the title at the top in red lettering.Under the title is an illustration of soldiers sitting or standing around a fire. This edition of Patriotic Toasts was published in 1917 by Forbes and Company in Chicago. Each page has a lithographic decorative blue border surrounding the printed text, and the dense cardboard cover contains a stoic depiction of Uncle Sam carrying an American flag, reinforcing the book’s self-proclaimed patriotism. The author, Fred Emerson Brooks, a popular 19th century poet, wrote several books of “toasts” – short poems likely meant to be read aloud in social gatherings. A notice in the back of this volume advertises Brooks’s other publications, including the comically titled Cream Toasts and Buttered Toasts, with a series of quotes from major newspapers attesting to Brooks’s sparkling wit. The collection of poems in this book captures the vigor of the American spirit at the time of its entry into World War I. Poems such as “Old Glory” and “Liberty’s Banner” are dense with the nationalist rhetoric that would eventually lose much of its appeal in the years to come. Other poems, like “To Our Own Good Germans,” exemplify the propagandizing attempts to vilify the people of Germany. When reading these poems, one can easily envision the host of a dinner party at the turn of the 20th century lifting his glass at the end of a spirited speech. This edition of Patriotic Toasts was published in 1917 by Forbes and Company in Chicago. Each page has a lithographic decorative blue border surrounding the printed text, and the dense cardboard cover contains a stoic depiction of Uncle Sam carrying an American flag, reinforcing the book’s …
Americans all!: Victory Liberty Loan.
Painting of a woman in a yellow gown, with left arm raised holding a laurel wreath. With her right hand she grasps a large U.S. flag which is hanging behind her.
And they thought we couldn't fight: Victory Liberty Loan.
Color illustration of a wounded yet smiling soldier. His uniform sleeves are tattered, and he is bloodied and bandaged; he wears a helmet and carries three enemy helmets in his hands, in addition to his rifle. A barbed wire fence and the ruins of a building can be seen in the background.
[Any Soldier to His Son, cover]
Photograph of the cover of "Any Soldier to His Son" by George Willis, held by UNT Special Collections. The cover is grey, with the spine being darker. The title is in a silver frame on the top right, the lettering also in silver. In 1919, a collection of poems titled Any Soldier to His Son, authored by George Willis, was published by George Allen & Unwin LTD out of London. Although there is not much readily available biographical information on Willis, it is known that he was a soldier in the British army during World War I. The book itself is small, with an olive green cover designed by C.R.W. Nevinson but otherwise lacking illustrations other than the ornate publisher’s insignia on the title page. There is also no dedication or foreword, leaving the reader with little direction on how to read the book. However, the book concludes with a one-page advertisement for three other books of war poetry also published by George Allen & Unwin, including A Gallipoli Diary by Major Graham Gillam, another first-hand account of battle. Any Soldier to His Son contains eighteen poems, ranging in length but written primarily in rhyming couplets. Notable titles include “Any Soldier to His Son,” “To My Mate,” and “By Green Envelope,” addressed to the poet’s beloved wife. The subject matter of Willis’ poetry revolves around the experiences of a soldier, both during and after the war. Willis investigates the change in a soldier brought on by combat, and the book ends with “A Testament,” in which the soldier is asking for peace in death. In the progression of the poems, Willis is arguably imagining himself as a mouthpiece for all soldiers. Through his poetry, he seeks to help civilians better understand what it meant to be on the front lines …
Are you 100% American? Prove it! Buy U.S. government bonds : Third Liberty Loan.
Poster is mainly black text with a red border. Centered at top is a design consisting of an eagle, U.S. flags, and cannons. Centered at the bottom is a blue shield with white text: "U.S. TREASURY WILL PAY INTEREST EVERY SIX MONTHS".
[Artillery shell casings, World War I]
Photographs of artillery shell casings from World War I, held by UNT Special Collections. The first image shows the brown rusted bullets from the bottom, one is closed and the other one hollow. Image 2, bullet laying down. The bullet is long and thin.
[Aurelia & Other Poems, cover]
Photograph of the cover of "Aurelia & Other Poems" by Robert Nichols, held by UNT Special Collections. The book is brown with a white label on the front with the title printed on it.
[Backgrounds, cover]
Photograph of the cover of "Backgrounds" by Grace Mary Golden, held by UNT Special Collections. The pale grey paper book contains the title and author at the top, the publishing info at the bottom. Most of the page is covered by an illustration of a woman watching a soldier rowing at sea with a dog next to her. All the wording and illustrations are in black.
[Battle field on Argonne]
Postcard with an illustration of the battlefield at Argonne.
Be patriotic: sign your country's pledge to save the food.
Color poster of a woman with her hands extended toward the viewer. She is wearing an dress that appears to be made from a draped U.S. flag, and a cap of a stars-and-stripes motif.
Beat back the Hun with Liberty Bonds
Poster depicts a German solider with blood-stained fingers and bayonet.
[The Bells of Peace]
Photographs of "The Bells of Peace" by John Galsworthy, held by UNT Special Collections. The brown paper cover is framed by a red line, the title in simple black print. Image 2, page titled "The Bells of Peace" with two paragraphs, the first letter of each a red L. Image 3, pages 3 and 3. They are both titled "The Bells of Peace" at the top. Each page has 2 paragraphs, the first letter of each big and red. The bottom of page 3 has the date June 1920.
[The Bombing of Bruges, cover]
Photograph of the cover of "The Bombing of Bruges" by Paul Bewsher, held by UNT Special Collections. The pale blue cover has the title at the top and author at the bottom, all imprinted in dark blue lettering.
Building for health : Bureau of Social Education, Y.W.C.A.
Color poster of a woman holding an infant. The woman has dark hair worn in a bun, and wears a long yellow dress. In the background is a blue inverted triangle (YWCA symbol) with a caduceus (medical symbol) and book.
Buy bonds : Third Liberty Loan
Window decal advertising the Third Liberty Loan.
Buy Liberty Bonds.
Color poster with picture frame drawn as border. Profile of a bust of Abraham Lincoln is in center.
He can win! : the Federal Board provides training : consult the local Red Cross Home Service Section.
Color poster of a soldier in uniform, sitting at a desk holding a pipe in one hand and a pencil in his other hand. On the desk are drafting tools, an ink pot, and a paper with drawings. A large Red Cross symbol appears in the top right corner of the picture. (There is a large white spot on the soldier's forehead; Library of Congress catalog describes him as "injured".)
Cardinal Mercier has appealed to the Food Administration for more food for starving millions.
A color image of Cardinal Mercier's head and shoulders is centered on the top half of the poster. He has gray hair and blue eyes, and wears a red garment with a white collar. The bottom half of the poster is all text.
Le Cardinal Mercier protège la Belgique.
Illustration of Cardinal Mercier in a gold cape and mitre (headdress). He holds a staff in his left hand. A fallen man is slumped over at his feet and there is a crowd of people behind him, most of whom appear to be women. The Cardinal is depicted in color and the other people are depicted in black & white.
[Cease Firing: Fifty Poems of the New Peace]
Photographs of "Cease Firing: Fifty Poems of the New Peace," held by UNT Special Collections. The first image is the cover of "Cease Firing," blue/green color with the title imprinted in gold at the top in between three lines of gold. The second image is of the title page and frontispiece. The frontispiece is a black and white illustration with the words piece at the top made up of small birds. Image 3, poem titled "Peace Shall Live" expanding over two pages. At the very top of the left page it is titled "Cease Firing" and the top of the right page titled "Seek Peace and Pursue It."
[Chicago Poems]
Photographs of "Chicago Poems" by Carl Sandburg, held by UNT Special Collections. The cover is dark green with the title and author in gold lettering at the top and the front framed by a gold line. Image 2, open book with the page on the right titled "Killers" and the left page blank. Image 3, pages 86 and 87. Page 87 contains a poem titled "Among the Red Guns."
[The Collected Poems of Rupert Brooke, cover]
Photograph of the cover of "The Collected Poems of Rupert Brooke" by Rupert Brooke, held by UNT Special Collections. The simple black book has the title in a white box at the top, framed by an orange line. Rupert Brooke (1887-1915) was the son of a Rugby schoolmaster and attended school at Rugby and later at King’s College of Cambridge University. After completing his education, Brooke continued writing poetry and became one of the founders of the first anthology of Georgian Poetry. Now little studied, it was a dominant poetic movement of the time until it was supplanted by Imagism and the High Modernism of T. S. Eliot, Ezra Pound, and W. B. Yeats. While not as experimental as the Modernists, the Georgian poets did look to free poetry from the ornate language of Victorian verse and employ in its place plain and concrete language. Along with the Georgian poets, Brooke also interacted with members of the influential Bloomsbury Group, which included such prominent writers as Virginia Woolf and E. M. Forster. When war broke out, Brooke enlisted but never saw combat, instead dying of illness in March 1915 on his way to Gallipoli. Despite this, Brooke became a touchstone for other WWI poets, who dedicated volumes of verse to him, wrote essays celebrating his work, and published memoirs of his life. Rupert Brooke’s most anthologized poetry is often selected to represent a more inspirational and conventional perspective than the soldier poets that follow him. The patriotic sensibility in his most famous poem “The Soldier,” for example, is often contrasted with the disillusionment, horror, and lack of sentimentality of other WWI poets. This is not surprising, considering that Brooke did not see combat, but it has had unfortunate consequences for Brooke’s reputation and much of his best poetry has been …
Comptoir National D'escompte de Paris : Emprunt National 1918 : pour hâter la Victoire, et pour nous revoir bientôt, souscrivez!
Color poster of two women smiling. The woman on the left is wearing a large black Alsatian headdress ("coiffe alsacienne"). She is raising one arm in the air as if to salute and has her other arm around the shoulder of the other woman. The woman on the right is holding flowers. She wears a white bonnet and a shawl, typical of the region of Lorraine. Both women wear blue-white-and-red rosettes on their headwear. A bird flies at the lower left side of the picture. (Alsace-Lorraine was a part of France ceded to the German Empire in 1871. It was reverted to France at the end of the First World War.)
Congressional Medal of Honor, the Distinguished Service Cross, and the Distinguished Service Medal Issued by the War Department Since April 6, 1917 Up to and including General Orders, Number 126, War Department, November 11, 1919
Book containing the names and deeds of the recipients of the Congressional Medal of Honor, the Distinguished Service Cross, and the Distinguished Service Medal awarded for actions during World War I. It includes information such as whether the award was posthumous, the person's rank, and their company (if applicable).
[Counter-attack: and other poems]
Photographs of "Counter-Attack: And Other Poems" by Siegfried Sassoon, held by UNT Special Collections. The book is worn and brown, with the title printed in brown ink on a label, the wording framed by brown lines. Image 2, with page 20 titled "How To Die" on the left and page 21 on the right titled "The Effect." This copy of Siegfried Sassoon’s collection of poems, Counter-Attack and Other Poems, is a 1919 reprinting of the original 1918 edition, published by E.P. Dutton and Company in New York. The binding is made of brown paper over boards, parts of which have begun to chip away. As a decorated officer known for his heroic, often perilous, actions on the battlefield, Sassoon wrote poems that vividly depict his experience in the trenches. Counter-Attack and The Old Huntsman (Sassoon’s first published collection of war poetry, referenced on the title page) mark the transition from his earlier, highly romanticized poetry, and would go on to solidify him as one of the era’s most influential poets. A thorough description of this transition in Sassoon’s work is given in the introduction by fellow soldier-poet and friend, Robert Nichols. The poems in this collection give the reader an up-close account of the graphic horrors of World War I, and signal the departure from the glorification of war. As with volumes by other soldier poets, Sassoon’s Counter-Attack would usher in the cold, fragmented beginnings of modernist literature.
Crédit Lyonnais : souscrivez au 4e Emprunt National.
Naked man wearing sword belt and helmet lunges to the right with sword extended against an eagle and pulling a French flag from its beak.
[Days of Destiny: War Poems at Home and Abroad, cover]
Photograph of the cover of "Days of Destiny: War Poems at Home and Abroad" by R. Gorell Barnes, held by UNT Special Collections. The cover is worn grey in cover with the title in a white box at the top, with the D's red and the box framed by a red line.
[Dead mans hill]
Postcard of a hill with very little grass, the text at the bottom reads, "Dead Mans Hill Verdun."
Defeat the Kaiser and his U-boats : victory depends on which fails first, food or frightfulness : eat less wheat.
In the foreground is the profile of Kaiser Wilhelm II wearing a German helmet. His face is colored green. In the background is a u-boat in the water; farther in the distance is a sinking ship with smoke rising from it. The sky is colored orange and the orange sky is reflected on the surface of the water. Centered at the bottom of the poster is a circular seal: a shield with a U.S. flag motif, surrounded by wheat stalks. (This is a seal of the U.S. Food Administration.)
An die deutschen frauen!
Instructions to the women of Germany, urging them to provide assistance and support in the war effort. Text is in a medieval-style font.
[Don't forget me]
Postcard to Mrs. Louise Carper, 818 Austin St., Houston, Texas from M.S.E. John Carper, Signal Corps. The front of the postcard has a quote that reads, "Don't forget me little girlie no matter where I roam, but think of the day the band will play when Johnnie comes marching home." The handwriting on the back of the card reads, "June-16-18. I'm well and like France very much, but oh, you U.S.A. Jack."
[Easter at Ypres 1915: And Other Poems, frontispiece/title page]
Photograph of the frontispiece/title page of "Easter at Ypres 1915" by W.S.S. Lyon, held by UNT Special Collections. The title page has the title at the top and publishing information at the bottom. The page on the left contains a black and white photo of the side profile of a young man in uniform.
Eat more corn, oats and rye products-- ... : eat less wheat, meat, sugar and fats, to save for the Army and our allies.
Color poster depicts a variety of foods on a table: a whole fish on a plate, a bowl of fruit, vegetables, a basket of corn, poultry, and a loaf of bread. The table is brown and the poster background is green.
[Echoes of France]
Photographs of "Echoes of France" by Amy Robbins Ware, held by UNT Special Collections. The cover is dark blue with a rubricated title and illustration enclosed in a black-stamped frame. Image 2, inscription on inside of cover written in pencil. On the left page is a stamped design. This image in Echoes from France by Amy Robbins Ware, an American nurse in France during WWI, demonstrates the kind of tensions generated by the coexistence of photographs and text. Image 3, pages 40 and 41. The page on the left has a black and white photo of a woman in a dress and gas mask, the page on the right a poem titled "J'attends, C'est la Guerre." Although the book contains no photographs of abject gore, it does feature this photo of a woman with a gas mask as a haunting reminder of such horror and an effacement of the familiar, such that the woman now wears the large dark eyes and proboscis reminiscent of insect life. The text at the bottom works against the tone of estrangement by way of the domesticating rhetoric of “little tin derby” in the place of “helmet.” The diminutive qualifier is not supported by the photo and so suggests a note of endearment and thereby emotional mastery. Similarly the poem to the left of the photograph turns its focus from the destructive power of the “Gothas,” the heavy bombers of the German Luftstreitkräfte, to “Life’s great adventure” and nostalgic invocations, however fleeting their comforts. Whereas the reassurance of a human face, no less real than the uniform before us, lies beneath the mask in the photograph, the terror of war lies beneath the rhetorical surface of the poem, whose imagistic force is for the most part diffused by familiarity of diction and detail. Both the …
L'Emprunt de la Libération.
A white-mustached man resembling Kaiser Wilhelm II, wearing a white helmet and cape, and holding a broken sword, kneels dejectedly with his head down. Above and behind him is held a large group of flags of the Allied states.
Emprunt de la Libération : on les a : souscrivez à la London County & Westminster Bank (Paris) Ltd.
Lithograph of 3 soldiers in battle. One is wearing a Scottish uniform with kilt. A tall soldier with a mustache wears a French uniform and holds his helmet in the air. Another in the background wears an olive/khaki uniform (British or U.S.) with helmet, and is pointing a rifle. An explosion can be seen in the background on the left.
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