Joan of Arc Original Prints Archive Illustrating Her Military Leadership, Cross-Dressing, Trial, and Imprisonment, 18th–19th Century Engravings

Joan of Arc Prints Archive

Archive

[Cross-Dressing][Women Military] Joan of Arc engraving archive depicting the French military leader and martyr Jeanne d’Arc in iconic images of battle, persecution, and faith, ca. 1770-1850s. The prints focus on Joan’s leadership during the Hundred Years’ War and on the gender-bending aspects of her identity and dress that contributed to her 1431 trial for heresy. Particular attention is given to her appearance in armor while directing troops or appearing before political authorities. These visual depictions emphasize Joan’s adoption of male military clothing, an attribute which has lead modern scholars of LGBTQ history to celebrate the saint as a queer and proto-transgender figure.

Archive of eight engravings and proof impressions executed primarily in copperplate and steel engraving processes during the eighteenth and nineteenth centuries. The images depict several key episodes associated with Joan of Arc’s historical narrative, including portraits showing her wearing armor and holding a sword, scenes of military command in which she appears mounted or directing troops, and representations of her recognition by Charles VII and entry into the city of Orléans. A prison scene portrays Joan during captivity prior to her execution in 1431, emphasizing the moment when her continued cross-dressing became a major point of contention during her heresy trial. Several engravings were produced for historical publications and illustrated histories circulating in the eighteenth and nineteenth centuries, including editions associated with François Guizot’s History of France, reflecting the renewed interest in Joan of Arc as a figure of national history. Archives includes:

[1] Engraved for J. Sydney's History of England. The Maid of Orleans Receiving the Sword of St. Catherine. England, c.1770–1820. A fine copper engraving framed within an elaborate Rococo border, showing Joan receiving the sacred sword of St. Catherine, an episode derived from medieval hagiography rather than strict historical documentation. Joan is mounted on horseback, surrounded by armed men and clergy, with a fortified tower rising behind her. The ornamental border and English publication context reveal the 18th-century Protestant fascination with Joan as a paradoxical figure: a warrior-prophetess both admired and viewed with suspicion.

[2] Anonymous Artist. Va, va, fille de Dieu; délivre la France! Vision Scene. France, c.1820–1850. A preparatory hand panciled engraving proof depicting Joan of Arc’s divine revelation, framed within penciled border guidelines. An angel descends from the clouds carrying a banner while pointing downward toward Joan, who kneels in astonishment as cherubs hover above. The inscription “VA VA / FILLE DE DIEU / DELIVRE LA FRANCE!” anchors the scene as an allegory of Joan’s heavenly mandate.

[3] Henry Richter (after). Joan of Arc Recognizes the King. London: The London Printing and Publishing Co., mid-19th century. A steel engraving portraying Joan’s revelation of Charles VII at Chinon, the pivotal moment when she identifies him despite his attempt at disguise. The richly detailed crowd scene and Gothic architectural setting emphasize both spectacle and legitimacy, visualizing Joan as divinely guided rather than politically manipulated.

[4] G. Greatbach, engraver; after a painting by J. Opie R.A. Joan of Arc Declaring Her Mission. London: The London Printing and Publishing Co. Ltd., mid-19th century. Joan is shown making a dramatic gesture as she proclaims her mission before astounded soldiers and clergy. The engraving captures the tension between gender expectations and prophetic authority: Joan’s outstretched arm, determined expression, and illuminated figure contrast with the skeptical figures behind her.

[5] E. Scriven, engraver. Joan D’Arc. London: H. Moore Sons & Co., mid-19th century.An engraving presenting a romanticized half-length portrait of Joan of Arc in armor, holding a sword upright while gazing serenely into the distance. Behind her appear faint bystanders, rendering her both an individual and an emblem of national deliverance.

[6] Entry of Joan of Arc into Orléans. From Guizot’s History of France. Paris/London, c.1840s. A sweeping steel engraving of Joan riding triumphantly into Orléans, accompanied by monks, soldiers, and citizens. The composition foregrounds her as a mounted military leader, sword raised, while crowds kneel and look upward in awe. Johannot’s design visualizes Joan as a unifying national leader.

[7] G. Stodart, engraver; after H. E. Selous. Joan of Arc and Charles. London: Virtue & Co., mid-19th century.A dramatic steel engraving showing Joan standing beside Charles VII, directing his attention toward the field of battle. The caption references their military collaboration. The interplay of armor, banners, and a stormy sky underscores Joan’smilitary might.

[8] T. Brown, engraver; after E. Corbould. Joan of Arc in Prison. London: The London Printing and Publishing Co., mid-19th century. A somber interior scene depicting Joan in captivity, clasping her hands as guards and clergy surround her. Corbould emphasizes her steadfastness, and the emotional gravity of her final days. Produced for an illustrated royal history (King Henry the Sixth), the image cast Joan as a martyr of conscience.

In recent decades, scholars in LGBTQ history and gender studies have increasingly examined Joan of Arc as a proto-queer icon, who challenged traditional ideas of gender identity and expression. Medieval trial records document that Joan consistently wore male military clothing during her campaigns and continued to wear such clothing during imprisonment, a choice that became a central accusation in the charges brought against her in 1431. Some historians and queer theorists have interpreted Joan’s refusal to abandon male dress, even under threat of execution, as evidence of a personal gender identity that did not conform to contemporary expectations for women. Joan of Arc has been cited as an example in Medieval history of an individual navigating queer identity long before the modern understanding of terms like trans, non-binary, or genderfluid.

Light toning and mild foxing to some, edgewear and staining present to some margins. Prints are clear and paper crisp. Overall very good condition. A compelling and diverse archive of eight Joan of Arc engravings and artistic proofs, representing two centuries of European historical illustration and devotional imagery. The collection captures Joan’s transformation from medieval visionary to modern nationalist and feminist icon.

Item #22913

Price: $3,500.00