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Alexander Vasilyevich Kolchak (Russian: Алекса́ндр Васи́льевич Колча́к, 16 November [O.S. 4 November] 1874 – 7 February 1920) was a polar explorer and commander in the Imperial Russian Navy, who fought in the Russo-Japanese War and the First World War. During the Russian Civil War, he established a counter-revolutionary government in Siberia—later the Provisional All-Russian Government—and was recognised as the 'Supreme Ruler and Commander-in-Chief of All Russian Land and Sea Forces' by the other leaders of the White movement (1918–1920).<br/><br/> His government was based in Omsk, in southwestern Siberia. He tried to defeat Bolshevism by ruling as a dictator but his government proved weak and confused. For example, he lost track of the imperial gold reserves and much of it disappeared. He failed to unite all the disparate elements. He refused to consider autonomy for ethnic minorities, refused to collaborate with non-Bolshevik leftists, and relied too heavily on outside aid. As his White forces fell apart, he was captured by independents and handed over to the Bolsheviks, who executed him.
Alexander Vasilyevich Kolchak (Russian: Алекса́ндр Васи́льевич Колча́к, 16 November [O.S. 4 November] 1874 – 7 February 1920) was a polar explorer and commander in the Imperial Russian Navy, who fought in the Russo-Japanese War and the First World War. During the Russian Civil War, he established a counter-revolutionary government in Siberia—later the Provisional All-Russian Government—and was recognised as the 'Supreme Ruler and Commander-in-Chief of All Russian Land and Sea Forces' by the other leaders of the White movement (1918–1920).<br/><br/> His government was based in Omsk, in southwestern Siberia. He tried to defeat Bolshevism by ruling as a dictator but his government proved weak and confused. For example, he lost track of the imperial gold reserves and much of it disappeared. He failed to unite all the disparate elements. He refused to consider autonomy for ethnic minorities, refused to collaborate with non-Bolshevik leftists, and relied too heavily on outside aid. As his White forces fell apart, he was captured by independents and handed over to the Bolsheviks, who executed him.
Sapajou was the artistic nom de plume of Georgii Avksentievich Sapojnikoff, one-time Lieutenant of the Russian Imperial Army. He was a graduate of the Aleksandrovskoe Military School in Moscow, and saw action in World War I, in which he was gravely wounded. As a result of his wounds, which left him with a pronounced limp for the rest of his life, he was invalided out of the army, and it was at this time that he began to take an interest in the visual arts, enrolling in evening classes at the Academy of Arts. The year 1920 found him, like so many of his compatriots, a refugee in Shanghai.<br/><br/> From 1925 onwards, Sapajou was on the staff of the North-China Daily News, probably the most important and prestigious English language newspaper in the Far East, and one that was considered the mouthpiece of the largely British establishment of the International Settlement in Shanghai. Through his daily cartoons published over an almost unbroken period of some fifteen years, Sapajou became well known not only in Shanghai but also internationally. The publishing house of Kelly & Walsh produced several albums of his sketches of Shanghai life, and his illustrations appeared in a number of contemporary books on Chinese subjects.
Sapajou was the artistic nom de plume of Georgii Avksentievich Sapojnikoff, one-time Lieutenant of the Russian Imperial Army. He was a graduate of the Aleksandrovskoe Military School in Moscow, and saw action in World War I, in which he was gravely wounded. As a result of his wounds, which left him with a pronounced limp for the rest of his life, he was invalided out of the army, and it was at this time that he began to take an interest in the visual arts, enrolling in evening classes at the Academy of Arts. The year 1920 found him, like so many of his compatriots, a refugee in Shanghai.<br/><br/> From 1925 onwards, Sapajou was on the staff of the North-China Daily News, probably the most important and prestigious English language newspaper in the Far East, and one that was considered the mouthpiece of the largely British establishment of the International Settlement in Shanghai. Through his daily cartoons published over an almost unbroken period of some fifteen years, Sapajou became well known not only in Shanghai but also internationally. The publishing house of Kelly & Walsh produced several albums of his sketches of Shanghai life, and his illustrations appeared in a number of contemporary books on Chinese subjects.
A Happy Worker in Sovdepia (a derogatory name for the Soviet state). A White Russian paper poster published in Odessa, satirizing hyperinflation in Soviet-held territories (the worker is shown begging while sitting on a heap of devalued and worthless banknotes).
Sapajou was the artistic nom de plume of Georgii Avksentievich Sapojnikoff, one-time Lieutenant of the Russian Imperial Army. He was a graduate of the Aleksandrovskoe Military School in Moscow, and saw action in World War I, in which he was gravely wounded. As a result of his wounds, which left him with a pronounced limp for the rest of his life, he was invalided out of the army, and it was at this time that he began to take an interest in the visual arts, enrolling in evening classes at the Academy of Arts. The year 1920 found him, like so many of his compatriots, a refugee in Shanghai.<br/><br/> From 1925 onwards, Sapajou was on the staff of the North-China Daily News, probably the most important and prestigious English language newspaper in the Far East, and one that was considered the mouthpiece of the largely British establishment of the International Settlement in Shanghai. Through his daily cartoons published over an almost unbroken period of some fifteen years, Sapajou became well known not only in Shanghai but also internationally. The publishing house of Kelly & Walsh produced several albums of his sketches of Shanghai life, and his illustrations appeared in a number of contemporary books on Chinese subjects.
Sapajou was the artistic nom de plume of Georgii Avksentievich Sapojnikoff, one-time Lieutenant of the Russian Imperial Army. He was a graduate of the Aleksandrovskoe Military School in Moscow, and saw action in World War I, in which he was gravely wounded. As a result of his wounds, which left him with a pronounced limp for the rest of his life, he was invalided out of the army, and it was at this time that he began to take an interest in the visual arts, enrolling in evening classes at the Academy of Arts. The year 1920 found him, like so many of his compatriots, a refugee in Shanghai.<br/><br/> From 1925 onwards, Sapajou was on the staff of the North-China Daily News, probably the most important and prestigious English language newspaper in the Far East, and one that was considered the mouthpiece of the largely British establishment of the International Settlement in Shanghai. Through his daily cartoons published over an almost unbroken period of some fifteen years, Sapajou became well known not only in Shanghai but also internationally. The publishing house of Kelly & Walsh produced several albums of his sketches of Shanghai life, and his illustrations appeared in a number of contemporary books on Chinese subjects.
Illustration by the Austrian artist Friedrich Schiff, who lived in Shanghai during the 1930s and 1940s. His images exemplify the 'anything goes' atmosphere and indulgence amidst poverty that characterised Old Shanghai and which would soon be brought to an abrupt end by Japanese invasion (1937) and Communist revolution (1949).
Sapajou was the artistic nom de plume of Georgii Avksentievich Sapojnikoff, one-time Lieutenant of the Russian Imperial Army. He was a graduate of the Aleksandrovskoe Military School in Moscow, and saw action in World War I, in which he was gravely wounded. As a result of his wounds, which left him with a pronounced limp for the rest of his life, he was invalided out of the army, and it was at this time that he began to take an interest in the visual arts, enrolling in evening classes at the Academy of Arts. The year 1920 found him, like so many of his compatriots, a refugee in Shanghai.<br/><br/> From 1925 onwards, Sapajou was on the staff of the North-China Daily News, probably the most important and prestigious English language newspaper in the Far East, and one that was considered the mouthpiece of the largely British establishment of the International Settlement in Shanghai. Through his daily cartoons published over an almost unbroken period of some fifteen years, Sapajou became well known not only in Shanghai but also internationally. The publishing house of Kelly & Walsh produced several albums of his sketches of Shanghai life, and his illustrations appeared in a number of contemporary books on Chinese subjects.
Sapajou was the artistic nom de plume of Georgii Avksentievich Sapojnikoff, one-time Lieutenant of the Russian Imperial Army. He was a graduate of the Aleksandrovskoe Military School in Moscow, and saw action in World War I, in which he was gravely wounded. As a result of his wounds, which left him with a pronounced limp for the rest of his life, he was invalided out of the army, and it was at this time that he began to take an interest in the visual arts, enrolling in evening classes at the Academy of Arts. The year 1920 found him, like so many of his compatriots, a refugee in Shanghai.<br/><br/> From 1925 onwards, Sapajou was on the staff of the North-China Daily News, probably the most important and prestigious English language newspaper in the Far East, and one that was considered the mouthpiece of the largely British establishment of the International Settlement in Shanghai. Through his daily cartoons published over an almost unbroken period of some fifteen years, Sapajou became well known not only in Shanghai but also internationally. The publishing house of Kelly & Walsh produced several albums of his sketches of Shanghai life, and his illustrations appeared in a number of contemporary books on Chinese subjects.
Sapajou was the artistic nom de plume of Georgii Avksentievich Sapojnikoff, one-time Lieutenant of the Russian Imperial Army. He was a graduate of the Aleksandrovskoe Military School in Moscow, and saw action in World War I, in which he was gravely wounded. As a result of his wounds, which left him with a pronounced limp for the rest of his life, he was invalided out of the army, and it was at this time that he began to take an interest in the visual arts, enrolling in evening classes at the Academy of Arts. The year 1920 found him, like so many of his compatriots, a refugee in Shanghai.<br/><br/> From 1925 onwards, Sapajou was on the staff of the North-China Daily News, probably the most important and prestigious English language newspaper in the Far East, and one that was considered the mouthpiece of the largely British establishment of the International Settlement in Shanghai. Through his daily cartoons published over an almost unbroken period of some fifteen years, Sapajou became well known not only in Shanghai but also internationally. The publishing house of Kelly & Walsh produced several albums of his sketches of Shanghai life, and his illustrations appeared in a number of contemporary books on Chinese subjects.
The Shanghai Russians were a sizable Russian diaspora that flourished in Shanghai, China between the World Wars. By 1937 it is estimated that there were as many as 25,000 anti-Bolshevik Russians living in the city, the largest European group by far. Most of them had come from the Russian Far East, where, with the support of the Japanese, the Whites had maintained a presence as late as the autumn of 1922.
A drawing by the Austrian artist Friedrich Schiff, who lived in Shanghai during the 1930s and 1940s. His images exemplify the 'anything goes' atmosphere and indulgence amidst poverty that characterised Old Shanghai and which would soon be brought to an abrupt end by Japanese invasion (1937) and Communist revolution (1949).
The Shanghai Russians were a sizable Russian diaspora that flourished in Shanghai, China between the World Wars. By 1937 it is estimated that there were as many as 25,000 anti-Bolshevik Russians living in the city, the largest European group by far. Most of them had come from the Russian Far East, where, with the support of the Japanese, the Whites had maintained a presence as late as the autumn of 1922.<br/><br/> It was the contribution that Russian women made to the entertainment industry, dancing and otherwise, that helped give Shanghai its exotic reputation, noted in the guidebooks of the day. A fictionalized portrayal of their predicament is presented in the James Ivory film The White Countess (2005). Those who were left became the focus of earnest campaigns by the League of Nations and others to end the 'white slave trade'.