Thrale history

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Dutch P.O.W. who was a commercial artist in Bavaria. He was 67, and what life was left in his body was extracted by the almighty Jap.

47.—PRISONER OF WAR FROM JAVA. (Indian ink. Clay tints.Tissue—paper.)

48.—EARLY MORNING IN SIAM. A wash drawing. I am told this picture has the touch of an Asiatic artist. It was not intentional.

49.—KOREAN GUARD. The best—looking Korean I have ever seen. His most precious possession was a piece of mirror, into which he was always peering. This is another request picture. (Red from lipstick, since faded, and pencil).

50.—SUNRISE IN OLD SIAM. Who am I to do justice to this God—like glory?—Frcedom to move around, and paints of quality—maybe I could give a little idea of the beauty seen.

51.—NUDE STUDY OF A BERI—BERI PATIENT. Ten minute sketch. He died two days later. The prisoner was a Eurasian married to a Thai woman, who smuggled food to him to try and save his life. He was a conscripted slave. Beri—Beri is a dreadful swelling disease which spreads from legs to genital organs, to stomach, and finally to heart. Copy was drawn for the Medical Association.

52.—EARLY MORNING MIST, SIAM. (Grey from mud).

53.—JAPANESE GUARDROOM. The guard is depicted as I saw him—the Japs were slovenly in tho carriago of arms. The guard commander became passionately angry when he saw the picture, tore it from my hand and pitched it in the waste bin. Many days later I crept out and retrieved the sketch. I could not afford to lose them now—they were daily becoming more precious to me. Many times I was asked by the Japs to do some pornographic studies for them—they could net undersand why I could or would not.

55.—HAWKS IN SIAM. The Dustmen of the Far East. They are seen near a Japanese slaughter—house. (On the back of Japanese field card).

56.—AT THE JUNGLE EDGE. The latrines shown were pits. After some time in the camp, all the available ground had been used for these pits, and it became necessary to open up the pits and bale out the excreta which was carried a long distance from the camp. This work was a "punishment job." (On a Jap field card).

57.—A JAPANESE INTERPRETER. I cannot turn the other cheek to this enemy. The intensity of my hatred for him I cannot describe. He spoiled my whole story. Telling me there was no room for Art in the Japanese ideology, but plenty of room for work, he confiscated 80 of my