Hand-colored engraved caricature; soldiers of 10th Hussars in jumble at left, Irish Channel in center, man directing opprobrium through giant musket from balcony in England at right, the Duke of York and Sir Herbert Taylor in right foreground. Hand-colored engraved caricature; soldiers of 10th Hussars in jumble at left, Irish Channel in center, man directing opprobrium through giant musket from balcony in England at right, the Duke of York and Sir Herbert Taylor in right foreground. Oblong folio, plate mark, margins slightly trimmed; small loss in lower margin; slightly soiled. London, Spencer, 1955.

written and composed by Leslie Stuart ; sung by Eugene Stratton Song for voice and piano. Cover lithographic illustration by H.G. Banks after W. George: portrait of drum major; vignette of band marching through town Hay Military copy: cover and first page of score only

Two bare-chested Marines stand on deck as their ship pulls away from a mountainous island. A metal can stands in the center of the deck and a large triangular object covers much of the right side of the image. with the remains of brown paper from a previous mount. Two bare-chested Marines stand on deck as their ship pulls away from a mountainous island. A metal can stands in the center of the deck and a large triangular object covers much of the right side of the image. with the remains of brown paper from a previous mount. Title from typed label affixed to verso. Title continues: "The fellows look at one another with forced (grin) complacency. (Censor Note: outline of hills could be anywhere in the Pacific)." Reeks joined the USMC in 1941 and saw action on Guadalcanal, New Georgia, Bougainville and Saipan. He was the only official combat artist to land on Iwo Jima with the invasion force and spent thirty days on the island sketching the campaign.

Soldier sitting on log with wife and daughter, two boys play nearby in a rural setting; other figures and military building in the background. Soldier sitting on log with wife and daughter, two boys play nearby in a rural setting; other figures and military building in the background. Printed by McQueen; Engraved by George T. Doo, Historical Engraver in Ordinary to the Queen, 1847; matted.

Original watercolor signed by Simkin; mounted uniform group including officer, leading horse-drawn supply wagon toward right down country road. Original watercolor signed by Simkin; mounted uniform group including officer, leading horse-drawn supply wagon toward right down country road. Oblong, matted; margins; soiled.

This print, like many others, imagines the Channel to be only a stone's throw wide. On the left side of the sheet, British sailors stand on a dock and take stock of the ships the French are busily building and repairing. One particularly stout sailor turns to his companion and speculates that they will soon be overstocked with ships. Already, "John Bull's Storehouse" is organized and packed with French ships taken in naval battles. In contrast, "The Gallic Storehouse for English Shipping" at the left of the sheet is falling apart and empty. French workers scramble on the sandy shore to meet the demand. In response to Napoleon's orders to speed production, a thin, bedraggled sailor shrugs his shoulders and pleads that, quite simply, it is no use, since all ships made are immediately confiscated by the British Navy. In the distance several galleons make their way toward the Channel. This print, like many others, imagines the Channel to be only a stone's throw wide. On the left side of the sheet, British sailors stand on a dock and take stock of the ships the French are busily building and repairing. One particularly stout sailor turns to his companion and speculates that they will soon be overstocked with ships. Already, "John Bull's Storehouse" is organized and packed with French ships taken in naval battles. In contrast, "The Gallic Storehouse for English Shipping" at the left of the sheet is falling apart and empty. French workers scramble on the sandy shore to meet the demand. In response to Napoleon's orders to speed production, a thin, bedraggled sailor shrugs his shoulders and pleads that, quite simply, it is no use, since all ships made are immediately confiscated by the British Navy. In the distance several galleons make their way toward the Channel. Published by Thomas Tegg, 1807-11-27. Caption: London Pubd. Novr 27th 1807 by Thos Tegg No 111 Cheapside Dialogue: English: "I say my Lads if he goes on this way we shall be over stock'd." "What a deal of pains some people take for nothing." Dialogue: French: "Begar you must vork like de Diable ve must annihilate dis John Bull." "Please you my Grand Empereur, tes no use vatever as fast, as ve do build dem, he vas clap dem in his storehouse over de way." Inscription: Price one shilling coloured Printed Signature: Woodward, del. Williams, f. Plate Mark: 229

10th in suite of 12 original unsigned ink and watercolor sketches, by Rev. William Bradford, of uniform figures and groups; standing figure of guardsman in blue jacket, red trim, bearskin hat, with shouldered rifle; descriptive note below. 10th in suite of 12 original unsigned ink and watercolor sketches, by Rev. William Bradford, of uniform figures and groups; standing figure of guardsman in blue jacket, red trim, bearskin hat, with shouldered rifle; descriptive note below. Small upright folio, matted; margins; clean; mounted in folio album of red marble boards, 1/4 red morocco back stamped gold. London, Parker Gallery, 1964.

Etched caricature after A. Sharpshooter (pseudonym for Phillips), published April 1829; prelate, officers etc. on floor holding down and strangling John Bull, George IV blindfolded by coroneted woman at left, Britannia and lion gagged or etherized at right, others looking on from background. Etched caricature after A. Sharpshooter (pseudonym for Phillips), published April 1829; prelate, officers etc. on floor holding down and strangling John Bull, George IV blindfolded by coroneted woman at left, Britannia and lion gagged or etherized at right, others looking on from background. Oblong medium folio, mounted on blue paper; margins trimmed; clean. N.Y., Walter Schatzki, 1961.

In the center of the sheet, a large, overfed John Bull is embraced by admiring women at his return from battle. In his right hand he holds an unsheathed sword; in the left he grips a pike topped by Napoleon's head and surrounded by a fistfull of decapitated heads hanging by their hair. Undeterred by the gruesome sight, women rush from all sides of the sheet to meet him. The image clearly indicates that for the hero, the motivation and reward of brave acts is the attention of women. The manly figure of John Bull is contrasted with an effetely elegant dandy (l.), who clenches his fists and stamps his feet, lamenting that he was not brave enough to be a soldier. In the center of the sheet, a large, overfed John Bull is embraced by admiring women at his return from battle. In his right hand he holds an unsheathed sword; in the left he grips a pike topped by Napoleon's head and surrounded by a fistfull of decapitated heads hanging by their hair. Undeterred by the gruesome sight, women rush from all sides of the sheet to meet him. The image clearly indicates that for the hero, the motivation and reward of brave acts is the attention of women. The manly figure of John Bull is contrasted with an effetely elegant dandy (l.), who clenches his fists and stamps his feet, lamenting that he was not brave enough to be a soldier. Published by Fores, 1803-08-01. Caption: The Yeomanry Calvary's First Essay Dialogue: Dandy at left: "Ods Niggins I wish I had been a Soldier too then the Girls would have run after me, but I never could stand the smell of gunpowder." Dialogue: Elegant woman in response to the Dandy's lament: "There you Poltroon look how that noble Hero's caressed!" Dialogue: Women (left to right): "Ah Bless him he has saved us from Death and Vileation." "Bless the Warrior that saved our virgin charms." "Take care I'll smother him with kisses." "Oh what frighfull Heads how ravishing they look, they would have used us ill I am sure." "Ha, ha, that that great man little Boney how glum he looks." Dialogue: Bull: "There you rouges, there! There's the BonePy part of them- twenty more killed them!! Twenty more killed them too!! I have killed half the army with this same Toledo." Inscription: Folios of Caricatures lent out for the Evening. Pubd. August 1st 1803 by S W Fores 50 Piccadilly

words & music by Henry Bedlow ; arranged for the piano by P. Pfeiffer. Song; for voice and piano. First line of text: Away with all sighing, away with all tears. Cover lith. illustration: scene of a mother seated at table watching Union troops pass by her window / Lith. of Sarony, Major & Knapp.

Hand colored lithograph; group portrait of 3 generals in uniform in foreground, other officers in left background, tents in right background. Hand colored lithograph; group portrait of 3 generals in uniform in foreground, other officers in left background, tents in right background. Small oblong folio, matted; margins trimmed; slightly worn and soiled. New York, Argosy, 1962.

composed by Theod. von La Hache : op. 643. For medium voice and piano. Caption title. Lyrics by Moina. Title page illustration: Confederate flag draped over cannon / Feusier & Turberg, Lith., N.O. "Wehrmann Eng."--Colophon, p. 9. First line of text: Furl that banner! for 'tis weary.

by William Nassann. Cover title. "By arrangement with Carl Fischer, Inc." For piano. Cover illustration of troop of soldiers with representation of the state capitol building in background; includes Connecticut state seal.

Part of collection of 66 original signed oil paintings on fiber board by Harry Payne for Gale & Polden postcards; 2 infantrymen in conversation, outdoors, 1 leaning with foot on rock, the other holding pennant or signal flag; smaller soldier figures in background. Part of collection of 66 original signed oil paintings on fiber board by Harry Payne for Gale & Polden postcards; 2 infantrymen in conversation, outdoors, 1 leaning with foot on rock, the other holding pennant or signal flag; smaller soldier figures in background. Folio, unbound; some edges etc. soiled or worn but images in good condition; in 2 red cloth cases, red leather labels stamped gold. London, Francis Edwards, 1966.

49th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); officer and infantryman standing, in conversation, building in background; note on verso: "88th". 49th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); officer and infantryman standing, in conversation, building in background; note on verso: "88th". Oblong and upright, 61 pieces; a few soiled; in folio red cloth case, red leather label stamped gold. London, Francis Edwards, 1966.

Unsigned original watercolor by McNeill; officer and infantryman, in red jackets, conversing near corner of building. Title on verso. Unsigned original watercolor by McNeill; officer and infantryman, in red jackets, conversing near corner of building. Title on verso. Upright; no margins; stained.

Subject: oval bust portrait of the Duke of Connaught in uniform, in foliate enframement of shamrocks; 'By permission from a photo in the collection of the Stereoscopic Compy'; Thos. Packer Lith & Imp. Subject: oval bust portrait of the Duke of Connaught in uniform, in foliate enframement of shamrocks; 'By permission from a photo in the collection of the Stereoscopic Compy'; Thos. Packer Lith & Imp. Title continues: By Charles D'Albert.

Steel engraving (after painting by Dubufe); group portrait of 15 diplomats and military leaders including Napoleon III, Mehmed Emin Aali Pasha, and Camillo Benso di Cavour, indoors, some seated; accompanied by engraved key to personages. Steel engraving (after painting by Dubufe); group portrait of 15 diplomats and military leaders including Napoleon III, Mehmed Emin Aali Pasha, and Camillo Benso di Cavour, indoors, some seated; accompanied by engraved key to personages. Large oblong folio and key folio, 2 prints; plate mark, margins intact; clean. Title supplied by cataloger. Vienna, Christian Nebehay, 1956.

1st in set of 5 color engraved plates by Harris after Martens 'from a sketch by Capt. Carey, Cape Mounted Rifles', published March 15th, 1852; long line of British cavalry on left in parley on plateau with large group of mounted tribesmen at right; mountains in background. 1st in set of 5 color engraved plates by Harris after Martens 'from a sketch by Capt. Carey, Cape Mounted Rifles', published March 15th, 1852; long line of British cavalry on left in parley on plateau with large group of mounted tribesmen at right; mountains in background. Large oblong folio, matted; plate mark, margins intact; clean. London, Francis Edwards, 1946.

A letter from P.A. Taylor, M.P. dated Sept. 17. Contains details of Garibaldi's condition and his gunshot wound. A letter from P.A. Taylor, M.P. dated Sept. 17. Contains details of Garibaldi's condition and his gunshot wound. Published in Illustrated Times, September 27, 1862, vol. 1, p. 350.

Edward M. Fay. Caption title. Color cover illustration of two officers surrounded by flags and trophies.

Original tempera drawing signed by Lambert, on gray board; full-length profile figure of officer with upraised sword marching toward right. Original tempera drawing signed by Lambert, on gray board; full-length profile figure of officer with upraised sword marching toward right. Narrow upright folio, matted; margins; clean. London, Parker Gallery, 1961.

2 folding color plate from Esquire Magazine after paintings by Pachner; uniform figures, men and women in vignettes of various formal and informal activities. 2 folding color plate from Esquire Magazine after paintings by Pachner; uniform figures, men and women in vignettes of various formal and informal activities. Oblong folio; margins intact; clean, creased. Hanover, N.H., Book and Print Shop, 1955.

Subject: full-length figure of the Prince of Wales in uniform near base of monument, Guard figures in background; by and after J. Brandard. Subject: full-length figure of the Prince of Wales in uniform near base of monument, Guard figures in background; by and after J. Brandard. Title continues: Composed & respectfully inscribed to Colonel H.R.H. The Prince of Wales, by Stephen Glover. Price 3/-

Color lithograph by B. Clayton; troops marching through street before cheering spectators, buildings in background. Color lithograph by B. Clayton; troops marching through street before cheering spectators, buildings in background. Small oblong folio, matted; margins intact; margins slightly soiled. London, Parker Gallery, 1952.

Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; infantryman in bearskin hat with shouldered rifle marching toward right through town street, smaller figure walking in background right; note on verso : "no. 33, 8th set of infantry". Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; infantryman in bearskin hat with shouldered rifle marching toward right through town street, smaller figure walking in background right; note on verso : "no. 33, 8th set of infantry". Upright folio on board, unbound, in red portfolio stamped gold, "Original oil paintings for British regimental prints c. 1900-1910".

One of a pair of chromolithograph plates (from book) after Becker; uniform groups, outdoors. [See also: Band of Grenadier Guards]. One of a pair of chromolithograph plates (from book) after Becker; uniform groups, outdoors. [See also: Band of Grenadier Guards]. Small oblong folio; clean; margins. London, W. Hill, 1952.

In dark of a nighttime forest, two masked French soldiers (far l. and center) hold torches and light the scene of the Duke D'Enghein's murder. Arms and legs spread wide, the Duke (l.) is tied to a large tree trunk and forced to watch Napoleon commit his murder. Napoleon (r.) theatrically lunges towards his victim's heart. In his right hand he holds the sword, and in his left he clutches the scabbard. In this image the satirist has chosen to depict the instant before the tip of the sword once again pierces the Duke's already injured torso. This moment of drama is heightened by the text which includes the Duke's courageous last words, and Napoleon's profession of his cowardly motives for the murder. A team of five flying demons arrive and hover above Napoleon's head. They wear red liberty caps and carry a crown studded with daggers--Napoleon's reward for murder. On the far right of the scene a group of four figures wearing armor and carrying shields approach the scene. Whereas the scene of the murder is illuminated by torch light, the way of the knights is lit by moonlight. George has noted that the shield decorated with the Hapsburg eagle represents Francis II while the shield with a bear represents Alexander I or Russia: the other two shields bear simple crosses. Although the scene is fictionalized, George notes that the incident of the Duke D'Enghein's kidnapping, court martial, and murder on March 20 was directed by Napoleon and was carried out in the moat of the castle by torch light. She further writes that the murder was protested by Alexander, yet Francis II was reluctant to voice criticism of Napoleon's actions. In dark of a nighttime forest, two masked French soldiers (far l. and center) hold torches and light the scene of the Duke D'Enghein's murder. Arms and legs spread wide, the Duke (l.) is tied to a large tree trunk and forced to watch Napoleon commit his murder. Napoleon (r.) theatrically lunges towards his victim's heart. In his right hand he holds the sword, and in his left he clutches the scabbard. In this image the satirist has chosen to depict the instant before the tip of the sword once again pierces the Duke's already injured torso. This moment of drama is heightened by the text which includes the Duke's courageous last words, and Napoleon's profession of his cowardly motives for the murder. A team of five flying demons arrive and hover above Napoleon's head. They wear red liberty caps and carry a crown studded with daggers--Napoleon's reward for murder. On the far right of the scene a group of four figures wearing armor and carrying shields approach the scene. Whereas the scene of the murder is illuminated by torch light, the way of the knights is lit by moonlight. George has noted that the shield decorated with the Hapsburg eagle represents Francis II while the shield with a bear represents Alexander I or Russia: the other two shields bear simple crosses. Although the scene is fictionalized, George notes that the incident of the Duke D'Enghein's kidnapping, court martial, and murder on March 20 was directed by Napoleon and was carried out in the moat of the castle by torch light. She further writes that the murder was protested by Alexander, yet Francis II was reluctant to voice criticism of Napoleon's actions. Published by Samuel W. Fores. 1804-06-02 Caption: Pubd June 2d 1804 by S W Fores No 50 Piccadilly Dialogue: Duke d'Enghein: "Assassin! your Bandetti need not cover my Eyes, I fear not Death tho perhaps a Guiltless Countenance may Appall your blood thirsty Soul." Napoleon: "Now de whole World shall know de courage of de first grand Consul, that I can kill my Enemies in de Dark as well as de light, by Night as well as by Day dare and dare I had him--hark vat noise was dat, as ti's only de Wind dare again and dare--now I shall certainly be made Emperor of de Gulls." Winged demons: "This glorious deed does well deserve a Crown, thus let us feed his wild ambition, untill some bold avenging hand shall make him All our Own." Armored figures: "Brothers! if these are the Treacherous Blood thirsty designs of this Tyrant , it is high time we united with England in one common cause for the sake of suffering Humanity, and to arrest the progress of his Infernal Machin-ations." Dialogue: Demon leader: "This glorious deed does well deserve a Crown thus let us feed his wild ambition, until some bold avenging hand shall make him All our own" Dialogue: Tsar: "Brothers! if these are the Treacherous Blood thirsty designs of this Tyrant, it is high time we united with England in one common cause for the sake of suffering Humanity, and to arrest the progress of his Infernal Machin-ations." Inscription: Folios of Caricatures Lent out for the Evening. Collector's Mark: A Stamp(s): S.W.F.

French sailors, wearing shrouds and bonnets rouges, set sail in coffins to conquer England. Each coffin/boat is propelled by a triangular sail held to the top of the mast by the jaws of a grinning skull. A heavy cannon is perched in the front of the boat and a useless rudder is at the rear. One such boat, in the lower right corner of the image, sinks under a swell of waves. The sailors raise their arms in dismay while they sink with their coffin. As expressed by one sailor, this disastrous outcome was intended by Napoleon, who wanted to rid himself of undesirables in the French Navy. In the distance British war ships, identifiable by the flags they fly, confidently sail towards the shoddy French fleet. Their sails billow and banners wave from the tops of the masts. French sailors, wearing shrouds and bonnets rouges, set sail in coffins to conquer England. Each coffin/boat is propelled by a triangular sail held to the top of the mast by the jaws of a grinning skull. A heavy cannon is perched in the front of the boat and a useless rudder is at the rear. One such boat, in the lower right corner of the image, sinks under a swell of waves. The sailors raise their arms in dismay while they sink with their coffin. As expressed by one sailor, this disastrous outcome was intended by Napoleon, who wanted to rid himself of undesirables in the French Navy. In the distance British war ships, identifiable by the flags they fly, confidently sail towards the shoddy French fleet. Their sails billow and banners wave from the tops of the masts. Published by Samuel W. Fores. 1804-01-06 Caption: Pubd Jany 6th 1804 by S W Fores 50 Piccadilly Folios of Caracatures lent out for the Evening Dialogue: French Sailor: "Oh de Corsican Bougre, was to make dese Gun Boats on purpose for our Funeral." Dialogue: First British sailor: "I say Messmate if we don't bear up quickly there will be nothing left for us to do." Dialogue: Second British sailor: "Rigt Tom, & I take them there things at the mast head to be Boney's Crest, a Skull without Brains" Stamp(s): S. W. F.

Hand-colored engraved caricature, published Jany. 4, 1790; general (Gen. Eliott, Lord Heathfield) mounted on ass blowing hunting horn and drilling group of infantrymen, landscape background. Hand-colored engraved caricature, published Jany. 4, 1790; general (Gen. Eliott, Lord Heathfield) mounted on ass blowing hunting horn and drilling group of infantrymen, landscape background. Oblong folio, matted; plate mark, margins trimmed, yellowed. N.Y., Rockman Prints, 1950.