Tinted lithograph; Schlik, mounted and advancing, with large group of mounted officers. Tinted lithograph; Schlik, mounted and advancing, with large group of mounted officers. Oblong folio; margins; trimmed; worn. Vienna, Christian Nebehay, 1956.
One of a set of 3 watercolor military portrait caricatures, unsigned; full-length figures in uniform, outdoors. [See also: Gen. Maj. Leind (and) Graf Beckers]. One of a set of 3 watercolor military portrait caricatures, unsigned; full-length figures in uniform, outdoors. [See also: Gen. Maj. Leind (and) Graf Beckers]. Upright, mounted on small folio white paper; no margins; clean. Title supplied by cataloger. Hamburg, Helmut Gerhard Schulz, 1955.
One of a collection of 11 hand colored engraved full-length military portraits. Figure on rearing horse facing left. One of a collection of 11 hand colored engraved full-length military portraits. Figure on rearing horse facing left. Small upright folio; plate marks, margins intact; soiled, worn; in blue, beige and white decorated board slipcase, red leather label stamped gold. Paris, Grangié sale, 1965.
Lithograph, unsigned; full-length portrait in uniform, arms folded, standing at top of staircase balustrade, outdoors. Lithograph, unsigned; full-length portrait in uniform, arms folded, standing at top of staircase balustrade, outdoors. Upright folio, matted; margins tirmmed; worn. Paris, Bihn, 1952.
1st in pair of lithographic proofs by and after Raffet, printed by Bry; full-length portrait in uniform, holding sword upright. 1st in pair of lithographic proofs by and after Raffet, printed by Bry; full-length portrait in uniform, holding sword upright. Upright folio; margins intact; clean; in blue cloth portfolio, red cloth label stamped black "Raffet - Portraits et Uniformes." Paris, Robert Prouté, 1976.
Etching, unsigned; panoramic view of battle, cavalry combat in foreground, at bottom. Etching, unsigned; panoramic view of battle, cavalry combat in foreground, at bottom. Upright medium folio; plate mark, margins trimmed; yellowed, creased. From 'Theatri Europaei Continuatio III (Theatrum Europaeum, Bd. 3, Tafel 30), 1670'. N.Y., Rockman Prints, 1957.
Original pen and ink and wash sketch, signed and dated by Greenhalgh, of military personnel driving in a jeep, while an MP leads a prisoner on foot, to the left. Original pen and ink and wash sketch, signed and dated by Greenhalgh, of military personnel driving in a jeep, while an MP leads a prisoner on foot, to the left. Published in Yank, May 19, 1944, page 4 as: "From a jeep, an American watches curiously as a big MP takes a little Jap prisoner to the rear."
Hand-colored engraving; Napoleon encouraging Lannes on stretcher in centre, officers and soldiers looking on at left and right, outdoors. Hand-colored engraving; Napoleon encouraging Lannes on stretcher in centre, officers and soldiers looking on at left and right, outdoors. Oblong medium folio; plate mark, margins intact; clean. Paris, Grangié sale, 1967.
Color lithograph by and after Butler, printed by Stannard & Dixon; view of building, numerous promenaders in foreground, including some in British and European military and naval uniform. Color lithograph by and after Butler, printed by Stannard & Dixon; view of building, numerous promenaders in foreground, including some in British and European military and naval uniform. Oblong folio, matted; margins trimmed. London, Parker Gallery, 1952.
Hand-colored engraving; view of catafalque of Duke above with military guard, priest, mourners; illustration of assassination and of weapons below. Hand-colored engraving; view of catafalque of Duke above with military guard, priest, mourners; illustration of assassination and of weapons below. Upright medium folio; plate mark, margins trimmed close; worn, creased, stained. New York, Walter Schatzki, 1957.
From collection of original watercolors and drawings by R. Baldwin; gouache painting of explosion or plane crash in ocean, near island. From collection of original watercolors and drawings by R. Baldwin; gouache painting of explosion or plane crash in ocean, near island. Upright giant folio matted on white board; no margins; clean. title provided by cataloger
A battle scene featuring a large explosion in the center of the painting. Debris flies violently to the left. A Marine is seen in the right foreground looking back at the explosion while another Marine stands in the distance. A battle scene featuring a large explosion in the center of the painting. Debris flies violently to the left. A Marine is seen in the right foreground looking back at the explosion while another Marine stands in the distance. 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.
A battle scene featuring a large explosion in the center of the painting. Debris flies violently to the left. A Marine is seen in the right foreground looking back at the explosion while another stands in the distance. Watercolor on paper mounted on board. A battle scene featuring a large explosion in the center of the painting. Debris flies violently to the left. A Marine is seen in the right foreground looking back at the explosion while another stands in the distance. Watercolor on paper mounted on board. 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.
Explosion with figures being blasted; dead in foreground. Inscription on verso: "March 1945, on our way back from Iwo Jima aboard U.S.S. Pickering. We all know and we all felt the terrific explosions and concussions of rocket bomb or high explosive mortar. When I was caught in a barrage of 11 such explosions one noon I witnessed two close ones and this is my interpretation of it. (Men blew up and far away about 20 feet up in many cases). Painted this picture on my way to Maui from Iwo from several notes." Explosion with figures being blasted; dead in foreground. Inscription on verso: "March 1945, on our way back from Iwo Jima aboard U.S.S. Pickering. We all know and we all felt the terrific explosions and concussions of rocket bomb or high explosive mortar. When I was caught in a barrage of 11 such explosions one noon I witnessed two close ones and this is my interpretation of it. (Men blew up and far away about 20 feet up in many cases). Painted this picture on my way to Maui from Iwo from several notes." Hios joined the USMC in 1942 and trained as a combat photographer. He saw action on the Marshall Islands, Saipan, Tinian and Iwo Jima. Promoted to sergeant, he received the Bronze Star for 'heroic and meritorious action in obtaining valuable combat photographs under hazardous conditions'. Gift of the artist, 1994.
Broadside with uncolored circular wood engraved plan of battle panorama, by Henry Aston Barker after Mr. Burford, printed by J. Adland. Broadside with uncolored circular wood engraved plan of battle panorama, by Henry Aston Barker after Mr. Burford, printed by J. Adland. Upright medium folio; margins intact; creased. London, Maggs, 1969.
engraving, partly aquatinted (colored impression) engraving, partly aquatinted (colored impression) Published by R. Ackermann, at his Repository of Arts, 101, Strand, London. [Harrison & Leigh, Printers, 373, Strand] Caption: Explanation of the Arms of Napoleon Bonaparte, The Tyrant of France, who created himself Emperor of the French 18th May, 1803; was dethroned by the French Senate 2d April, 1814; compelled to abdicate for himself and his family 6th April, and his Life spared on condition of being transported for the remainder of his days to the Island of Elba; whither he was sent under escort on the 20th April, 1814. The Crest represents the World, which, with the exception of England and Sweden, is set on fire every where by tx`he incendiary Corsican; his bloody actions and designs are expressed by the bloody Hand and Dagger reaching towards Spain. Tyranny, Hypocrisy, Barbarity, and Villany are his Standards, which are distinguishable through the smoke and fire, and have nearly enveloped the whole Globe. Caption: The Supporters Are, Death, Holding an Hour-Glass, to indicate the little time he will have to repent of his sins. The Gallic Cock, vainly pecking the Crucifix, is symbolic of the Corsican's impiety. Satan, Wearing an Iron Crown, ornamented with Thorns, cutting down the Cap of Liberty, and accompanied by the Serpent and Hyaena, the attributes of the Corsican Emperor's wily and sanguinary reign. Label(s): The Coat of Arms is divided into eight Quarters, as follows: -- I. The Mushroom on a Dunghill denotes his descent, or origin of family. The Crocodile expresses his treacherous transactions in Egypt, his apostasy, and his cowardly desertion from his army. The bloody Hand, the Guillotines, and the black Heart can only belong to such a monster. II. Represents the shooting of 800 defenceless Turkish prisoners, near the town of Jaffa, ordered very coolly by the monster. III. Shows the poisoning of his own sick Soldiers in the hospital at Jaffa, by his express orders. IV. Exhibits a scene never known before in the civilized world: the foul murder (for it cannot be called any thing else, though Boney excuses it by his mock court-martial) of the Duke d'Enghien. V. Here the monster compels the Pope to come to Paris and to assist at a blasphemous Coronation, where Boney stands upon no ceremony with the Holy Father. Boney puts on the iron crown himself with one hand, whilst the other hand is employed in robbing the Catholic Church of its head. VI. Exhibits another shocking scene: the truly English patriot, Captain Wright, is put to death by a slow and refined torture, because he will not be a traitor to his King and Country. VII. Here we behold the Massacre of the defenceless Citizens of Madrid on the 2d of May, 1808. VIII. Represents the imprisonment of King Ferdinand VII, because he will not renounce the crown of Spain, or marry Boney's niece. Label(s): As a roaring lion, and a ranging bear, so is a wicked ruler over the poor people Label(s): Cambaceres, Davoust, Augereau, Sebastiani, Vandamme, Savary
Color lithograph by J.H. Bufford after Reed; 5 illustrations of military and battle scenes showing artillery. Color lithograph by J.H. Bufford after Reed; 5 illustrations of military and battle scenes showing artillery. Large oblong folio, matted; margins; edges slightly soiled and worn. N.Y., Kennedy Galleries, 1961.
Color aquatint by and after Rowlandson; soldiers riding to manoeuvres on long char-è-bancs. [See also: Sadlers flying artillery]. Color aquatint by and after Rowlandson; soldiers riding to manoeuvres on long char-è-bancs. [See also: Sadlers flying artillery]. Oblong folio, matted; margins trimmed close; clean. New York, Harry H. Hymes, 1946.
Original pen and ink and wash sketch, signed and dated by Murphy, of 3 expatriated Japanese soldiers at Ueno Station, Tokyo. Original pen and ink and wash sketch, signed and dated by Murphy, of 3 expatriated Japanese soldiers at Ueno Station, Tokyo. Murphy joined the New York 7th Regiment in 1940 and trained at Camp Stewart, Georgia. He sailed to Australia in 1943 and served on General MacArthur's staff. Later he went to New Guinea and the Philippines before moving on to Japan following the surrender.
Napoleon, (r.), stoically commands his soldiers to attack the Council of Five Hundred using the ends of their bayonets. Unlike his soldiers, Napoleon is not grotesqued. Instead, Gillray has represented his profile with portrait-like accuracy. However, certain elements, such as Napoleon's uniform and the plumes on his hat, have been exaggerated to comic proportions. The brutish French soldiers, who crowd the right side of the sheet, have been endowed with thick, flabby lips, lantern jaws, and broad noses. They proudly wave a tri-color flag, upon which is written "Vive le Triumverate Buonaparte Seyes-Ducos." Additionally, a little drummer boy contributes to the melee by pounding on his drum labeled "Vive la Liberté." Members of the council are dressed alike, wearing long white robes tied with blue sashes and red capes. Panicked, they scramble over one another to escape by any means possible; in the background, several members can even be seen jumping out of the window. Napoleon, (r.), stoically commands his soldiers to attack the Council of Five Hundred using the ends of their bayonets. Unlike his soldiers, Napoleon is not grotesqued. Instead, Gillray has represented his profile with portrait-like accuracy. However, certain elements, such as Napoleon's uniform and the plumes on his hat, have been exaggerated to comic proportions. The brutish French soldiers, who crowd the right side of the sheet, have been endowed with thick, flabby lips, lantern jaws, and broad noses. They proudly wave a tri-color flag, upon which is written "Vive le Triumverate Buonaparte Seyes-Ducos." Additionally, a little drummer boy contributes to the melee by pounding on his drum labeled "Vive la Liberté." Members of the council are dressed alike, wearing long white robes tied with blue sashes and red capes. Panicked, they scramble over one another to escape by any means possible; in the background, several members can even be seen jumping out of the window. Published by Hannah Humphrey. Mary George notes that this caricature was created after reports of the coup d'état on 19 Brumaire (10 Nov.) reached the London papers around the 18th of November. 1799-11-21 Caption: London Publishd Novr 21st 1799. by H. Humphrey. 27 St James's Street Printed Signature: James Gillray inv. & fec.
Original unsigned watercolor; view of troops at review on parade ground near river or stream, landscape background, small figures of man and woman watching in foreground. Original unsigned watercolor; view of troops at review on parade ground near river or stream, landscape background, small figures of man and woman watching in foreground. Small oblong folio; margins; clean. N.Y., Rockman, 1957.
Hand-colored engraving (incomplete?); 2 rows of uniform figures of infantry and cavalry, arms at bottom center. Hand-colored engraving (incomplete?); 2 rows of uniform figures of infantry and cavalry, arms at bottom center. Oblong medium folio, matted; margins severely trimmed; worn, repaired tears and holes. Paris, Paul Roulleau, 1952.
View of plain outside city which appears in the background. Exhibition firing of artillery taking place from embankment at left Part of a larger set of 14 engravings and one watercolor, all mounted, or processions, views, etc. at various periods between 1592 and 1733. Large oblong folio; bound in 1/2 green morocco and green cloth stamped gold "Nürnberger Stückschiessen - 1592-1733."
Book of engravings by Pocquet; engraved title page and 87 numbered engraved plates of French military uniforms and drill exercises; descriptive notes below each. Handwritten(?) notes in back pages. Book of engravings by Pocquet; engraved title page and 87 numbered engraved plates of French military uniforms and drill exercises; descriptive notes below each. Handwritten(?) notes in back pages. Bound, in paper end-pages; stained, water-damaged.
Hand-colored engraving; soldiers at rifle practice above, soldiers and drummer boys aligned for review below. Hand-colored engraving; soldiers at rifle practice above, soldiers and drummer boys aligned for review below. Small oblong folio, matted; plate mark, margins; soiled. New York, Rockman Prints, 1953.
One of a set of 4 engravings of genre scenes in life of young recruit; recruit seated outside house with wife and recruiting drummer. One of a set of 4 engravings of genre scenes in life of young recruit; recruit seated outside house with wife and recruiting drummer. Upright medium folio, matted; plate marks, margins trimmed; edges soiled. London, Maggs, 1960.
Hand-colored line engraving; fahnrich waving flag, smaller figures of soldiers and tent encampment in background; rhymed caption below. Hand-colored line engraving; fahnrich waving flag, smaller figures of soldiers and tent encampment in background; rhymed caption below. Small upright folio, matted; plate mark, margins trimmed, soiled. Leichtenstein-Hauslab Collection, 1951.
5th in collection of 6 hand-colored imagerie-type plates; double row of German infantry groups in white uniforms. 5th in collection of 6 hand-colored imagerie-type plates; double row of German infantry groups in white uniforms. Small oblong folio; pl. marks, margins intact; mostly clean; in red cloth slipcase, white leather label st. gold, "Troupes Allemands Ier Empire, Paris, Basset". Paris, Delacre sale, 1961.
One of three (of a collection of ?) etched plates by and after Aubry (1. Sermet de fidelité à sa M. Louis Philippe Roi des Français, 7. Excercice equestre à l'instar des anciens carrousels, servant de complément à l'equitation, 8. Grande Revue passée dans le Champ de Manoeuvre par le Général Commandant l'Ecole Royal de Cavalerie) One of three (of a collection of ?) etched plates by and after Aubry (1. Sermet de fidelité à sa M. Louis Philippe Roi des Français, 7. Excercice equestre à l'instar des anciens carrousels, servant de complément à l'equitation, 8. Grande Revue passée dans le Champ de Manoeuvre par le Général Commandant l'Ecole Royal de Cavalerie) Oblong medium folio, plate mark, margins intact; soiled. Paris, Bihn, 1955.
Hand-colored engraved caricature; short stout sergeant drilling 2 clumsy recruits, one of whom is club-footed. Hand-colored engraved caricature; short stout sergeant drilling 2 clumsy recruits, one of whom is club-footed. Small oblong folio; plate mark, margins intact; clean. Paris, Bessel, 1960.
