François Claremont. Caption title. Solo 4/-, Duet 4/- Chromolithograph cover illustration printed by Stannard and Dixon: sailor embracing young woman on beach, companions wait with dory at water's edge. 'Shabbath Recreations by John Pridham'--advertisement on page [14]

Jack Frost pelts Napoleon with snowballs while chasing Napoleon across a snow-covered battlefield. Typical of representations of Frost, he is depicted here nude, emaciated, with a large, grotesque head. Wearing nothing but ice skates strapped to his bare feet, Frost rides a "Northern Bear" that gambols after Napoleon while blowing a cold "Northern blast" towards Napoleon's posterior. Frost's countenance is truly terrible; his large eyes bulge out of their sockets and shoot rays of "Northern Lights,",his mouth is a horrible grimace studded with cragged teeth, and his hair, beard and mustache are all shocks of white. Napoleon attempts to make his retreat and escape the pelting he receives. Running, he hunches forward and covers his frozen nose with a gloved hand. His hat has already been knocked off his head, and his uniform is disheveled. Like Frost, Napoleon wears skates on his boots, which do little to help his escape or keep his frozen toes warm. At the horizon, several Russian cities are defined by the caricaturist. On the right, between Napoleon and the edge of the image, a group of French soldiers huddle around a smoky campfire; an inscription identifies their location as Moscow. In the center of the sheet Emperor Alexander and his troops stand in front of the city of Petersbourgh. One hand on his sword, the other gesturing towards Napoleon, Alexander assumes a heroic pose. Behind him, a flag bearing a double-headed eagle unfurls, and his troops wait, lances and bayonets at the ready. Just behind Jack Frost, at the far left of the sheet, a group of Cossacks gleefully watch Frost chase Napoleon and wait for their opportunity to strike. They are equipped for the cold and wear fur-lined tunics and trousers and have curved boots, designed for walking in the snow. Jack Frost pelts Napoleon with snowballs while chasing Napoleon across a snow-covered battlefield. Typical of representations of Frost, he is depicted here nude, emaciated, with a large, grotesque head. Wearing nothing but ice skates strapped to his bare feet, Frost rides a "Northern Bear" that gambols after Napoleon while blowing a cold "Northern blast" towards Napoleon's posterior. Frost's countenance is truly terrible; his large eyes bulge out of their sockets and shoot rays of "Northern Lights,",his mouth is a horrible grimace studded with cragged teeth, and his hair, beard and mustache are all shocks of white. Napoleon attempts to make his retreat and escape the pelting he receives. Running, he hunches forward and covers his frozen nose with a gloved hand. His hat has already been knocked off his head, and his uniform is disheveled. Like Frost, Napoleon wears skates on his boots, which do little to help his escape or keep his frozen toes warm. At the horizon, several Russian cities are defined by the caricaturist. On the right, between Napoleon and the edge of the image, a group of French soldiers huddle around a smoky campfire; an inscription identifies their location as Moscow. In the center of the sheet Emperor Alexander and his troops stand in front of the city of Petersbourgh. One hand on his sword, the other gesturing towards Napoleon, Alexander assumes a heroic pose. Behind him, a flag bearing a double-headed eagle unfurls, and his troops wait, lances and bayonets at the ready. Just behind Jack Frost, at the far left of the sheet, a group of Cossacks gleefully watch Frost chase Napoleon and wait for their opportunity to strike. They are equipped for the cold and wear fur-lined tunics and trousers and have curved boots, designed for walking in the snow. This print is not signed by a publisher or dated. George dates the print to December 1812, and suggests that it was likely published by Thomas Tegg. The satire indicates that Napoleon's defeat was assisted by the cold winter and the French army's lack of preparation for the harsh Russian winter climate. This is a common theme in British satires on Napoleon's Russian campaign. Caption: Desd by E--- Dialogue: Jack Frost: "What - Master Bony - have I caught you at last Ile - teach you Russian fare - take that and that as a relish and digest it." Dialogue: Napoleon: "By gar - Monsieur Frost this is a much colder Reception than I expected. I never experienced such a pelting before - I find I must take care of my nose as well as my Toes - Pray forgive me this time and I swear by St. Dennis never to enter your dominion again." Plate Mark: 179 Price: Price one Shilling Coloured

1st in pair of steel-engravings after Chappel; standing uniform figure, indoors. 1st in pair of steel-engravings after Chappel; standing uniform figure, indoors. Upright; margins intact; clean. N.Y., Argosy, 1954.

One of a collection of 14 mounted original crude watercolor drawings, dated January, 1847, but unsigned, of full-length military portraits, outdoor backgrounds. Figure in blue and red, walking to the right, horse and building in right background. One of a collection of 14 mounted original crude watercolor drawings, dated January, 1847, but unsigned, of full-length military portraits, outdoor backgrounds. Figure in blue and red, walking to the right, horse and building in right background. Unbound; in light blue cloth portfolio stamped gold; slightly worn.

6th in collection of 9 lithographic plates of soldier scenes by Delpech after Vernet; battle scene, French grenadier firing rifle in foreground, troops charging toward left in background. 6th in collection of 9 lithographic plates of soldier scenes by Delpech after Vernet; battle scene, French grenadier firing rifle in foreground, troops charging toward left in background. Small oblong folio; margins intact; clean; in "H. Vernet Misc. Lithographs, 1818-'28." S. Lincoln, Mass., Maroni, 1962.

Colored humorous lithograph by Villain after Charlet; small drummer-boy in conversation with young recruit leaning against wall. Colored humorous lithograph by Villain after Charlet; small drummer-boy in conversation with young recruit leaning against wall. Upright; margins severely trimmed; slightly soiled; in blue cloth portfolio, red leather label stamped gold, "Charlet, Miscellaneous Lithographs." N.Y., Rockman Prints, 1949

20th in collection of 91 lithographic plates by Villain and Gihaut frères after Charlet; young drummer boy commiserating with young soldier leaning against wall at left, other soldiers in right background. 20th in collection of 91 lithographic plates by Villain and Gihaut frères after Charlet; young drummer boy commiserating with young soldier leaning against wall at left, other soldiers in right background. Folio, unbound; some plates slightly foxed or soiled, in blue cloth case, blue leather back stamped gold "Lithographs of Charlet." New York, Walter Schatzki, 1965.

12th in collection of 91 lithographic plates by Villain and Gihaut frères after Charlet; aged veteran, now blacksmith, outside shop, reminiscing with 2 young recruits. 12th in collection of 91 lithographic plates by Villain and Gihaut frères after Charlet; aged veteran, now blacksmith, outside shop, reminiscing with 2 young recruits. Folio, unbound; some pl. slightly foxed or soiled, in blue cloth case, blue leather back stamped gold "Lithographs of Charlet." New York, Walter Schatzki, 1965.

41st in collection of 91 lithographic plates by Villain and Gihaut frères after Charlet; chubby soldier in bearskin hat talking to peasant standing in doorway, another soldier in left background. 41st in collection of 91 lithographic plates by Villain and Gihaut frères after Charlet; chubby soldier in bearskin hat talking to peasant standing in doorway, another soldier in left background. In blue cloth case, blue leather stamped gold "Lithographs by Charlet". New York, Walter Schatzki, 1965.

Colored lithograph by Daems; artilleryman with wooden leg, in uniform, standing beside cannon. Charlier who lost his leg at the battle of Waterloo, became a hero for his part in the Dutch attack on Brussels in September 1830 during the Belgian Revolution. Colored lithograph by Daems; artilleryman with wooden leg, in uniform, standing beside cannon. Charlier who lost his leg at the battle of Waterloo, became a hero for his part in the Dutch attack on Brussels in September 1830 during the Belgian Revolution. Small upright folio; margins; foxed. N.Y.,, Rockman Prints, 1949.

Colored aquatint plate from book by Mixille and St. Saveur after Labrousse, of military incidents and portraits (Encyclopédie de Voyages); French grenadier dying in foreground, officer calling for aid, British troops approaching through ravine in background. Colored aquatint plate from book by Mixille and St. Saveur after Labrousse, of military incidents and portraits (Encyclopédie de Voyages); French grenadier dying in foreground, officer calling for aid, British troops approaching through ravine in background. Small upright and oblong, 4 prints [cf. FrP1793sf-1b, FrP1794sf-a1,b], matted; margins trimmed; clean. Paris, Bihn, 1952. Subtitle supplied by cataloger

One of a collection of 72 ink and pencil drawings, partially hand colored, of uniform figures by Georg Schäfer after Johann Adam Klein, these being slightly enlarged copies of the originals in the Nürnberg Kupferstichkabinet des Germanischen Zentralmuseums and the art museum of Hamburg; uniforms of Bavaria, Frankfurt, Hannover, Mainz, Austria, Prussia, Saxony, Würzburg, Russia and France are shown; accompanied by a typewritten index of 8 pages. 2 soldiers seated at a table, 2 standing next to them, outside of a tent, horse in background. One of a collection of 72 ink and pencil drawings, partially hand colored, of uniform figures by Georg Schäfer after Johann Adam Klein, these being slightly enlarged copies of the originals in the Nürnberg Kupferstichkabinet des Germanischen Zentralmuseums and the art museum of Hamburg; uniforms of Bavaria, Frankfurt, Hannover, Mainz, Austria, Prussia, Saxony, Würzburg, Russia and France are shown; accompanied by a typewritten index of 8 pages. 2 soldiers seated at a table, 2 standing next to them, outside of a tent, horse in background. Oblong, unbound, clean; in 1/4 red leather and marble board case stamped gold. Hamburg, Schäfer, 1956.

One of a collection of 72 ink and pencil drawings, partially hand colored, of uniform figures by Georg Schäfer after Johann Adam Klein, these being slightly enlarged copies of the originals in the Nürnberg Kupferstichkabinet des Germanischen Zentralmuseums and the art museum of Hamburg; uniforms of Bavaria, Frankfurt, Hannover, Mainz, Austria, Prussia, Saxony, Würzburg, Russia and France are shown; accompanied by a typewritten index of 8 pages. Unfinished watercolor of soldier standing next to his horse, other soldiers in background. One of a collection of 72 ink and pencil drawings, partially hand colored, of uniform figures by Georg Schäfer after Johann Adam Klein, these being slightly enlarged copies of the originals in the Nürnberg Kupferstichkabinet des Germanischen Zentralmuseums and the art museum of Hamburg; uniforms of Bavaria, Frankfurt, Hannover, Mainz, Austria, Prussia, Saxony, Würzburg, Russia and France are shown; accompanied by a typewritten index of 8 pages. Unfinished watercolor of soldier standing next to his horse, other soldiers in background. Oblong, unbound, clean; in 1/4 red leather and marble board case stamped gold. Hamburg, Schäfer, 1956.

One of a collection of 72 ink and pencil drawings, partially hand colored, of uniform figures by Georg Schäfer after Johann Adam Klein, these being slightly enlarged copies of the originals in the Nürnberg Kupferstichkabinet des Germanischen Zentralmuseums and the art museum of Hamburg; uniforms of Bavaria, Frankfurt, Hannover, Mainz, Austria, Prussia, Saxony, Würzburg, Russia and France are shown; accompanied by a typewritten index of 8 pages. Unfinished watercolor of soldiers, horses and tents. One of a collection of 72 ink and pencil drawings, partially hand colored, of uniform figures by Georg Schäfer after Johann Adam Klein, these being slightly enlarged copies of the originals in the Nürnberg Kupferstichkabinet des Germanischen Zentralmuseums and the art museum of Hamburg; uniforms of Bavaria, Frankfurt, Hannover, Mainz, Austria, Prussia, Saxony, Würzburg, Russia and France are shown; accompanied by a typewritten index of 8 pages. Unfinished watercolor of soldiers, horses and tents. Oblong, unbound, clean; in 1/4 red leather and marble board case stamped gold. Hamburg, Schäfer, 1956.

Stipple-engraving; bust portrait in uniform and cloak over shoulders, hatless. Stipple-engraving; bust portrait in uniform and cloak over shoulders, hatless. Small upright; margins trimmed. title: J. V. MOREAU, Feldherr der Franzosischen Republik. annotation: t 21. Sept 1813

Hand-colored lithograph; half-length portrait of Polish general wearing red uniform and cape. Hand-colored lithograph; half-length portrait of Polish general wearing red uniform and cape. Upright folio, matted; margins; clean. Providence, Owl at the Bridge.

by J. R. Cassidy. Cover title. Song for voice and piano. First line: Jack and I were playmates, together went to school. First line of chorus: We fought side by side, Brave friends, true and tried. 'Must not be sung in theatres or music halls without written permission of J.R. Cassidy'--cover. Chromolithograph cover: Soldier singing before other soldiers and two women near tents and campfire; three inset illustrations of portrait of young man, two schoolboys, and wounded soldier assisted by two comrades; Armitage & Ibbetson Limited Litho. Bradford. '10/- reward will be paid to anyone giving information to J. R. Cassidy that will lead to the prosecution of any artiste singing this song in theatres or music halls. Dont fail to see J.R. Cassidy's latest London success "The God of War" by Chas. Whitlock'--advertisement page [4]

4th of 26 hand-colored engraved plate of military portraits, each showing a cantonal uniform; full-length portrait of grenadier in red coat, white breeches, holding rifle, outdoors. 4th of 26 hand-colored engraved plate of military portraits, each showing a cantonal uniform; full-length portrait of grenadier in red coat, white breeches, holding rifle, outdoors. Folio, unbound; in red cloth case, red morocco back stamped gold "Feyerabend - die Eidgenössischen Truppen - Basel 1792". Zurich, August Laube, 1960.

Lithograph by Lemercier after Maurin; 4 bust portraits of which 2 are in uniform, at top, 3 illustrations of Tuileries, trophies and Hõtel de Ville at bottom. Lithograph by Lemercier after Maurin; 4 bust portraits of which 2 are in uniform, at top, 3 illustrations of Tuileries, trophies and Hõtel de Ville at bottom. Small oblong folio; margins trimmed; yellowed, foxing. N. Y., Rockman Prints, 1961. title: 1. Genéral La Fayette. 2. Comte Gérard. 3. J. Lafitte. 4. Casmire Perier. caption: A. Maurin caption: A Paris, chez Bulla, rue St. Jacques, No. 38. caption: Lith. de Lemercier, rue du Four S. G. No. 55

2-color lithograph; 3/4-length portrait in hussar uniform, shako on table at left, left hand on hip. 2-color lithograph; 3/4-length portrait in hussar uniform, shako on table at left, left hand on hip. Small upright folio, matted folio; margins intact; margins soiled and stained. N.Y., Rockman Prints, 1953.

Lithograph by and after Kriehuber, dated 1848 by artist, printed by Joh. Höfelich; half-length portrait in hussar uniform, clutching cloak closed with left hand. Lithograph by and after Kriehuber, dated 1848 by artist, printed by Joh. Höfelich; half-length portrait in hussar uniform, clutching cloak closed with left hand. Upright medium folio; margins; foxed. N.Y., Rockman Prints, 1956.

Mezzotint by A.G. Campbell; oval bust portrait in uniform. Mezzotint by A.G. Campbell; oval bust portrait in uniform. Upright medium folio; plate mark, margins; soiled. N.Y. Argosy, 1952.

Lithograph by and after Llanta; bust portrait in uniform and orders, c. 1819. Lithograph by and after Llanta; bust portrait in uniform and orders, c. 1819. Small upright, matted; margins; clean. New York, Rockman Prints.

From set of colored lithographic plates by Söderberg, of uniform figures; 2 standing figures of infantry and cavalry officers, both in dark blue uniforms, red trim, outdoors. From set of colored lithographic plates by Söderberg, of uniform figures; 2 standing figures of infantry and cavalry officers, both in dark blue uniforms, red trim, outdoors. On 8 large folio paper mounts, unbound; clean; cut apart and now in bloth cloth slipcase, russet leather label stamped gold "Söderberg. Kongl. Svenska Armée Uniformer. Stockholm, 1834". Paris, Paul Roulleau, 1968.

Wash drawing signed and dated by Rittmeyer after painting by Chretien (after Gros?); Ferdinand as a young lieutenant in the uniform of the 1st Carabiniers-à-Cheval, holding helmet, bidding farewell to seated his father General Lariboisière at left; trumpeters and battle of Borodino in background. He was mortally wounded in the battle. The original picture was painted by Antoine Jean Gros. Wash drawing signed and dated by Rittmeyer after painting by Chretien (after Gros?); Ferdinand as a young lieutenant in the uniform of the 1st Carabiniers-à-Cheval, holding helmet, bidding farewell to seated his father General Lariboisière at left; trumpeters and battle of Borodino in background. He was mortally wounded in the battle. The original picture was painted by Antoine Jean Gros. Large upright folio; margins. New York, Rockman Prints, 1963.

1st in suite of 3 copper-engravings (engraved by Larmessin after Martin); Swedish General Lewenhaupt, mounted, facing left, pointing with baton, with mounted officers nearby, troops advancing to battle in background. Representation of the Battle of Lesnaya, September 28, 1708 1st in suite of 3 copper-engravings (engraved by Larmessin after Martin); Swedish General Lewenhaupt, mounted, facing left, pointing with baton, with mounted officers nearby, troops advancing to battle in background. Representation of the Battle of Lesnaya, September 28, 1708 Giant oblong folio, matted; plate mark, margins intact; clean; from Leichtenstein-Hauslab Collection. New York, Rockman Prints, 1954. original title in Russian, translated by cataloger

2nd in suite of 3 copper-engravings (engraved by Simonneau after Martin); Peter the Great, mounted, with troops advancing to battle in distance, field fortifications in left background. 2nd in suite of 3 copper-engravings (engraved by Simonneau after Martin); Peter the Great, mounted, with troops advancing to battle in distance, field fortifications in left background. Giant oblong folio, matted; plate mark, margins intact; clean; from Leichtenstein-Hauslab Collection. New York, Rockman Prints, 1954. original title in Russian, translated by cataloger

Original watercolor signed and dated by Reeks; smoke-filled scene of beach landing, U.S. infantry and tank passing wounded and dead soldiers in bomb crater in foreground. Original watercolor signed and dated by Reeks; smoke-filled scene of beach landing, U.S. infantry and tank passing wounded and dead soldiers in bomb crater in foreground. 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.

Original watercolor signed by Reeks; landing craft heading to shore amid explosions and geysers, debris in foreground. Original watercolor signed by Reeks; landing craft heading to shore amid explosions and geysers, debris in foreground. 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. title provided by cataloger

Image is the title page for a collection of paintings about American forces on Iwo Jima. A military plane is seen taking off or landing in the center. Clouds fill the sky. A rounded hill is to the left and a series of runway lights to the right. Image is the title page for a collection of paintings about American forces on Iwo Jima. A military plane is seen taking off or landing in the center. Clouds fill the sky. A rounded hill is to the left and a series of runway lights to the right. After training at Pendleton Field, Oregon, in aerial and ground photography, Baldwin served with the 20th U.S. Air Force as public relations photographer and artist. Stationed on Iwo Jima, he later covered the surrender of Japanese forces in Tokyo Bay, August, 1945. Gift of the artist, 1994.