One of a pair of naval scenes showing ships in battle. One of a pair of naval scenes showing ships in battle. Georg Balthasar Probst.

One of a pair of naval scenes showing ships in battle. One of a pair of naval scenes showing ships in battle. Georg Balthasar Probst.

Original ink wash sketch by Crown; back view of officer seated on ship deck, one arm on rail, with mounted telescope or other machine at right. Original ink wash sketch by Crown; back view of officer seated on ship deck, one arm on rail, with mounted telescope or other machine at right. Numbered 31 on verso. Crown served in the South Pacific as an infantry artist and Staff Sergeant. He was also a field correspondent for Yank magazine. Gift of the artist, 1994.

3rd in collection of 3 unsigned wash drawings of uniform figures; standing uniform figure in double-breasted coat and cap, facing right, pointing with one hand. 3rd in collection of 3 unsigned wash drawings of uniform figures; standing uniform figure in double-breasted coat and cap, facing right, pointing with one hand. Narrow upright folio, unbound; in blue cloth portfolio stamped gold on cover. William Whiteside, 1988.

Unsigned original charcoal and chalk drawing (by Lucas?); close-up view of naval uniform coat and waistcoat. Unsigned original charcoal and chalk drawing (by Lucas?); close-up view of naval uniform coat and waistcoat. Upright medium folio, matted; no margins; clean. Title supplied by cataloger. N.Y., Rockman Prints, 1952.

Etched caricature, published Novr. 1st, 1800; naval petty officer and sailor walking at right, inspecting or remarking on group of women in exaggerated dress styles walking in from left. Etched caricature, published Novr. 1st, 1800; naval petty officer and sailor walking at right, inspecting or remarking on group of women in exaggerated dress styles walking in from left. Small oblong folio; plate mark, margins; clean. N.Y., Walter Schatzki, 1964.

Original watercolor caricature signed by Woodward; officer talking to drunken sailor. Original watercolor caricature signed by Woodward; officer talking to drunken sailor. Oblong folio, matted; margins intact; slightly soiled.

Two sketches; the first an original ink sketch, signed RG, of personnel gassing a transport plane at Funafuti; the second an incomplete sketch of the GI who gassed up the plane standing on the wing. Two sketches; the first an original ink sketch, signed RG, of personnel gassing a transport plane at Funafuti; the second an incomplete sketch of the GI who gassed up the plane standing on the wing. Published in Yank, November 10, 1944, page 7 as: "GIs clad in shorts gas the plane at Funafuti." Second image not published.

One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Two Indian soldiers with guns and swords patrolling in a market place, buildings, people, and elephant behind. One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Two Indian soldiers with guns and swords patrolling in a market place, buildings, people, and elephant behind. Folio, unbound; in red cloth case, red leather label stamped gold "C. H. Smith. Costume of the British Army. Original Drawings"; soiled, worn. Bedford, Peter Young, 1950.

One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Three Indian soldiers with guns and swords, two mounted, the other standing, talking, town in distance. Pencil and ink notes One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Three Indian soldiers with guns and swords, two mounted, the other standing, talking, town in distance. Pencil and ink notes Folio, unbound; in red cloth case, red leather label stamped gold "C. H. Smith. Costume of the British Army. Original Drawings"; soiled, worn, plate mark. Bedford, Peter Young, 1950.

One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Two soldiers, with guns and swords, standing at ease and talking, tent in right background, farmer with bullock in left background, temple in left distance. One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Two soldiers, with guns and swords, standing at ease and talking, tent in right background, farmer with bullock in left background, temple in left distance. Folio, unbound; in red cloth case, red leather label stamped gold "C. H. Smith. Costume of the British Army. Original Drawings"; soiled, worn. Bedford, Peter Young, 1950.

1st in collection of 4 unsigned watercolors by native artist; standing uniform figure in turban, wearing sword. 1st in collection of 4 unsigned watercolors by native artist; standing uniform figure in turban, wearing sword. Small upright folio, matted; clean. Portland, ME, Christopher Bryant, 1994. Title supplied by cataloger

Color lithograph print by Engelmann, published by Colburn, London, Dec. 1, 1826; standing figure in semi-military costume. Frontispiece to 'Personal Narrative of a Journey from India to England, by Bussorah, Bagdad, the Ruins of Babylon, Curdistan, the Court of Persia, the Western Shore of the Caspian Sea, Astrakhan, Nishney Novogorod, Moscow, and St. Petersburgh, in the Year 1824', by The Hon. Capt. George Thomas Keppel, vol. 1 (London, Henry Colburn, 1827). Color lithograph print by Engelmann, published by Colburn, London, Dec. 1, 1826; standing figure in semi-military costume. Frontispiece to 'Personal Narrative of a Journey from India to England, by Bussorah, Bagdad, the Ruins of Babylon, Curdistan, the Court of Persia, the Western Shore of the Caspian Sea, Astrakhan, Nishney Novogorod, Moscow, and St. Petersburgh, in the Year 1824', by The Hon. Capt. George Thomas Keppel, vol. 1 (London, Henry Colburn, 1827). Upright, matted; margins trimmed close; faded and soiled. London, Spencer, 1953.

2nd of pair of unsigned gouache paintings, numbered 10, by Punjabi artist, with Persian inscription; mounted cavalryman in helmet and mailed military costume, with lance. 2nd of pair of unsigned gouache paintings, numbered 10, by Punjabi artist, with Persian inscription; mounted cavalryman in helmet and mailed military costume, with lance. Upright, matted; margins; clean. London, Maggs, 1972. Title supplied by cataloger

Colored lithograph by and after Sonntag, printed by J. Rauh; 4 uniform figures, outdoors, small figures of troops in background. Colored lithograph by and after Sonntag, printed by J. Rauh; 4 uniform figures, outdoors, small figures of troops in background. Small oblong folio, matted; margins; creased, cleaned. Vienna, Christian Nebehay, 1953.

One of a collection of 44 original signed watercolors of uniform figures, insignia and flags by Herbert Knötel d. J. Figure in gray with rifle. One of a collection of 44 original signed watercolors of uniform figures, insignia and flags by Herbert Knötel d. J. Figure in gray with rifle. Field gray portfolio stamped gold. Washington, D.C., H. Wandrus, 1967.

Colored lithograph by and after Bachmann-Hohmann, printed by L. Förster; group of soldiers around campfire in shed. Colored lithograph by and after Bachmann-Hohmann, printed by L. Förster; group of soldiers around campfire in shed. Oblong, medium folio; margins intact; soiled and slightly foxed. Vienna, Christian Nebehay, 1953.

Colored lithograph by and after Gerasch, printed by J. Rauh; group of four soldiers, outdoors. Colored lithograph by and after Gerasch, printed by J. Rauh; group of four soldiers, outdoors. Medium upright folio, matted; margins; clean. Vienna, Christian Nebehay, 1958.

Chromolithograph by Picken after Thomas; Queen, and suite on canopied platform, pulling cord to fire mounted rifle, volunteers in foreground, soldiers, spectators and tents in left and right background. Chromolithograph by Picken after Thomas; Queen, and suite on canopied platform, pulling cord to fire mounted rifle, volunteers in foreground, soldiers, spectators and tents in left and right background. Oblong folio, matted; margins; clean. London, Parker Gallery, 1957. title provided by cataloger

Color lithograph by W. Sharp & Co.; mounted officer facing left, pointing with right arm. Color lithograph by W. Sharp & Co.; mounted officer facing left, pointing with right arm. Small folio; margins; yellowed, slightly foxed. N.Y., Military Miniatures, 1951.

composed and dedicated to Capt. Peter Dunbar, Officers & Members of the National Lancers by John Holloway. Cover lith. ill. by Thayer's Lith. Boston: "Indian Muster at Malden, Oct.11th, 1839"

by Auber ; arranged for the piano forte as performed by the Boston Brass Band by S. Knaebel. For piano. Caption title. Opera excerpt from act 1, no. 7. Cover illustration: Advertisement for Henry Prentiss, importer and manufacturer of musical instruments, showing marching band and soldiers marching around his store on Court Street, Boston / "T. Moore's Lithogy Boston."

Hand colored line lithograph; uniform group, showing 2 men and officer, outdoors. Hand colored line lithograph; uniform group, showing 2 men and officer, outdoors. Small upright, matted; margins intact; clean. New York, Harry H. Hymes, 1946.

4th in collection of annotated watercolor and pencil sketches by Huddy and others for U.S. Military Magazine, music covers etc., and 1 holograph letter; uncolored pencil sketch of officer seated at small table, standing infantryman with rifle at right. 4th in collection of annotated watercolor and pencil sketches by Huddy and others for U.S. Military Magazine, music covers etc., and 1 holograph letter; uncolored pencil sketch of officer seated at small table, standing infantryman with rifle at right. Folio; blue cloth, buff leather label stamped gold; most sketches soiled, worn, creased, torn etc. New York, Joseph A. Heckel, 1952.

Color lithographuc tobacco advertisement by Sarony, Major & Knapp; 3 standing uniform figures (7th Regt., N.Y.N.G., after Boetticher?), enframement and vignette of banners and trophies. Color lithographuc tobacco advertisement by Sarony, Major & Knapp; 3 standing uniform figures (7th Regt., N.Y.N.G., after Boetticher?), enframement and vignette of banners and trophies. Small upright folio, matted folio; margins; creased. New York, Edward Eberstadt, 1954.

Colored lithograph; 2 figures showing front and back of uniform, posing in street before Philadelphia Merchants' Exchange building. Colored lithograph; 2 figures showing front and back of uniform, posing in street before Philadelphia Merchants' Exchange building. Small folio, matted medium folio; margins unevenly trimmed. New York, Harry H. Hymes, 1943.

Colored lithograph by and after Clay, printed by Robinson; 5 uniform figures, outdoors near monument [In memory of Robert L. Roome Late Lieut of the National Greys...], showing back and front of regimental uniforms, small figures in background. Colored lithograph by and after Clay, printed by Robinson; 5 uniform figures, outdoors near monument [In memory of Robert L. Roome Late Lieut of the National Greys...], showing back and front of regimental uniforms, small figures in background. Oblong folio, matted; margins. New York, Harry H. Hymes, 1943.

Colored lithograph; 4 foreground figures showing officers' and men's uniforms back and front, smaller figures of soldiers and wives in background. Colored lithograph; 4 foreground figures showing officers' and men's uniforms back and front, smaller figures of soldiers and wives in background. Small folio, matted medium folio; plate mark, margins; slightly soiled, small tear at bottom New York, Harry H. Hymes, 1945.

Contrast prints have long been a common format for print satires. In this image John Bull, the national figure for England, is contrasted with Napoleon Bonaparte, who became the national symbol of France. Seated on the left of the sheet, Bull's prepossessing girth is shocking. His waistcoat can barely contain his large stomach, and his calves are stuffed into his breeches like sausages. Yet Bull appears to enjoy the comforts his excessive life provides. He cheerfully smiles as he puffs on a pipe and mocks Napoleon, who sits opposite him. Surrounding Bull are indicators of the British national wealth. He leans his back on an ill-proportioned table, upon which is set a large roast of beef, a frothy tankard of beer, and a punch bowl; at his feet are a cornucopia overflowing with gold coins and a loyal bulldog, who wears a golden collar on which is inscribed, "John Bull." On the right of the sheet, Napoleon sits perched ramrod straight on an ornate chair. He faces Bull in profile and angrily scowls at the smoke that drifts over him from Bull's pipe. Whereas Bull is all curves and cushioning, Napoleon is represented in angular strokes that betray his thin frame. Comically, Napoleon's hat is over half his size and appears to weigh his head down. The smoke surrounding Napoleon is crowded with disembodied medusa heads labeled "Cruelty," "Envy," and "Horrors." This sheet, depicting two extremes of excess, embodies the ambivalence that satires typically posses. The corpulent figure of Bull recalls images of gluttony and lasciviousness, criticizing the overindulgence of the British population. Napoleon can be allied with greed; he covets the wealth of Bull and of England--this is the reason for his hostile position towards the country. Contrast prints have long been a common format for print satires. In this image John Bull, the national figure for England, is contrasted with Napoleon Bonaparte, who became the national symbol of France. Seated on the left of the sheet, Bull's prepossessing girth is shocking. His waistcoat can barely contain his large stomach, and his calves are stuffed into his breeches like sausages. Yet Bull appears to enjoy the comforts his excessive life provides. He cheerfully smiles as he puffs on a pipe and mocks Napoleon, who sits opposite him. Surrounding Bull are indicators of the British national wealth. He leans his back on an ill-proportioned table, upon which is set a large roast of beef, a frothy tankard of beer, and a punch bowl; at his feet are a cornucopia overflowing with gold coins and a loyal bulldog, who wears a golden collar on which is inscribed, "John Bull." On the right of the sheet, Napoleon sits perched ramrod straight on an ornate chair. He faces Bull in profile and angrily scowls at the smoke that drifts over him from Bull's pipe. Whereas Bull is all curves and cushioning, Napoleon is represented in angular strokes that betray his thin frame. Comically, Napoleon's hat is over half his size and appears to weigh his head down. The smoke surrounding Napoleon is crowded with disembodied medusa heads labeled "Cruelty," "Envy," and "Horrors." This sheet, depicting two extremes of excess, embodies the ambivalence that satires typically posses. The corpulent figure of Bull recalls images of gluttony and lasciviousness, criticizing the overindulgence of the British population. Napoleon can be allied with greed; he covets the wealth of Bull and of England--this is the reason for his hostile position towards the country. Published by Roberts. 1804 Caption: Pubd by Roberts Middlerow Holborn London Annotation: c. 1802

composed & dedicated to Captain Middleton by B. Reiss. Cover lithographic illustration by Ch. Fendrick depicting militia officer advancing, sword in hand, others figures on the march in the background.