One of a collection of 16 mounted color lithograph plates after Eckert and Dietrich Monten of uniforms. Two figures on brown horses galloping towards right. One of a collection of 16 mounted color lithograph plates after Eckert and Dietrich Monten of uniforms. Two figures on brown horses galloping towards right. Folio; bound in 1/4 black morocco and marble boards stamped gold "Eckert et Weiss - Armée Suisse"; slight creasing at top right corner; title cut away. Zürich, August Laube, 1953.

Engraved plate bound in book, by Parrino; royal wedding procession winding through town, with inscriptions identifying notable persons. From 'L’ossequio tributario della fedelissima Città di Napoli, per le dimostranze giulive nei Regii Sponsali del Cattolico, ed Invittissimo Monarca Carlo Secondo colla Serenissima Principessa Maria Anna di Neoburgo Palatina del Reno, sotto i felicissimi auspicii dell’Eccellentissimo Signor D. Francesco di Benavides, Conte di S. Stefano, Vicerè, e Capitan Generale nel Regno di Napoli. Ragguaglio Historico, Descritto da Domenico Antonio Parrino Napolitano' (Naples, Domenico Antonio Parrino, 1690). Engraved plate bound in book, by Parrino; royal wedding procession winding through town, with inscriptions identifying notable persons. From 'L’ossequio tributario della fedelissima Città di Napoli, per le dimostranze giulive nei Regii Sponsali del Cattolico, ed Invittissimo Monarca Carlo Secondo colla Serenissima Principessa Maria Anna di Neoburgo Palatina del Reno, sotto i felicissimi auspicii dell’Eccellentissimo Signor D. Francesco di Benavides, Conte di S. Stefano, Vicerè, e Capitan Generale nel Regno di Napoli. Ragguaglio Historico, Descritto da Domenico Antonio Parrino Napolitano' (Naples, Domenico Antonio Parrino, 1690). Oblong folio, bound; no margins; clean.

12th in collection of 13 unsigned ink and watercolor drawings (by Lawson), copied from original documents in Foreign Office; mounted lancer in blue shirt, feathered helmet, facing left. 12th in collection of 13 unsigned ink and watercolor drawings (by Lawson), copied from original documents in Foreign Office; mounted lancer in blue shirt, feathered helmet, facing left. Unbound; clean; in red cloth portfolio, black leather label st. gold "C.C.P. Lawson. Indian, Afghan and Thibetan State Troops, c.1830". London, Lawson, 1966.

5th in collection of 9 unsigned watercolors (by Lawson) copied from originals in library of India Office; profile view of lancer in blue-gray coat and shawl, feathered helmet, facing left. 5th in collection of 9 unsigned watercolors (by Lawson) copied from originals in library of India Office; profile view of lancer in blue-gray coat and shawl, feathered helmet, facing left. Unbound; in red cloth portfolio st. green; clean. London, Lawson, 1965.

This crowded satire sketches the relationships amongst European heads of state after Leipzig. The composition of the image is constructed of concentric circles of figures. Set in the middle of an oval serving platter, Napoleon is joined by his officers who sit, bound, at the edge of the platter. Next, the heads of Europe are seated at the round table to contemplate this dish set in the center. The diners discuss the serving platter in the middle of the table, on which Napoleon and several key French officers who had been captured by the Allies are arranged. Other European figures stand behind the seated diners, surrounding them to form the outermost ring of the system. Ironically, Napoleon is the central point around which all are organized. Yet Napoleon, who has been reduced in size and is now the main course for European leaders. Napoleon is on bended knee with arms flung wide open, thereby exposing his star-shaped medal of the Legion of Honor. French officers are placed in a circle around their "sun"; they face inward and have their hands tied behind their backs. Inscriptions on the platter indicate that "Souham," "Regnier," "Marmont," "Macdonald," and "Lauriston" are all among the officers who garnish the dish. It would seem that Napoleon's appetite has been diminished or reversed so that now Napoleon, and by extension France, is the object of consumption. Seated at the round table are (l. to r.), Czar Alexander of Russia, Francis I of Austria, Frederick William of Prussia, Bernadotte (Crown Prince of Sweden), and Sir Charles Stewart who represents England. Significantly, Stewart faces away from the viewer; the back of his chair is turned so that it displays the British seal, indicating that Stewart was acting under orders of the Prince Regent. A second group of figures stands behind the Allies. Among them are (l. to r.) The King of Bavaria, the King of Würtemburg, a Dutchman, a Swiss, an Italian, and an old man who represents the King of Saxony. These figures all beg for a taste of the dish and comment on its fine qualities. This crowded satire sketches the relationships amongst European heads of state after Leipzig. The composition of the image is constructed of concentric circles of figures. Set in the middle of an oval serving platter, Napoleon is joined by his officers who sit, bound, at the edge of the platter. Next, the heads of Europe are seated at the round table to contemplate this dish set in the center. The diners discuss the serving platter in the middle of the table, on which Napoleon and several key French officers who had been captured by the Allies are arranged. Other European figures stand behind the seated diners, surrounding them to form the outermost ring of the system. Ironically, Napoleon is the central point around which all are organized. Yet Napoleon, who has been reduced in size and is now the main course for European leaders. Napoleon is on bended knee with arms flung wide open, thereby exposing his star-shaped medal of the Legion of Honor. French officers are placed in a circle around their "sun"; they face inward and have their hands tied behind their backs. Inscriptions on the platter indicate that "Souham," "Regnier," "Marmont," "Macdonald," and "Lauriston" are all among the officers who garnish the dish. It would seem that Napoleon's appetite has been diminished or reversed so that now Napoleon, and by extension France, is the object of consumption. Seated at the round table are (l. to r.), Czar Alexander of Russia, Francis I of Austria, Frederick William of Prussia, Bernadotte (Crown Prince of Sweden), and Sir Charles Stewart who represents England. Significantly, Stewart faces away from the viewer; the back of his chair is turned so that it displays the British seal, indicating that Stewart was acting under orders of the Prince Regent. A second group of figures stands behind the Allies. Among them are (l. to r.) The King of Bavaria, the King of Würtemburg, a Dutchman, a Swiss, an Italian, and an old man who represents the King of Saxony. These figures all beg for a taste of the dish and comment on its fine qualities. Published by S. Knight. 1813-11-10 Caption: Pubd Novr 10th 1813 by S Knight, No 3 Sweetings Alley Royl Exche Dialogue: Würtemburg (2nd from l.): "Pray let Wurtemburg join in that dish." Bavaria (Ist from l.): "And Bavaria, if you please!" Dutchman (3rd from l.): "Donder and Blikins, dat dish will please mine Vrow!" Swiss (3rd from r.): "William Tell never invented a better dish, I hope we shall have a taste of it!" Italian (2nd from r.): "By the god of Love! that is better dish den Maccaroni!" Saxony (1st from r.): "Oh dear! Oh dear! I hope they won't Dish the poor old King of Saxony!!" Dialogue: Russian Czar (1st from l.): "I think Brother of Austria, this dish will be relish'd by all Europe." Francis I of Austria (2nd from l.): "And I think Brother of Russia they will admire the Garnish!" Frederick William of Prussia (center): "It is rather too highly season'd for any taste, but French." Bernadotte (2nd from r.): "We must reduce the quantity of irritating articles, before we can produce it as a finish'd dish. What say you Stewardt of the feast??" Sir Charles Stewart (1st from r.): "I agree with your Highness, John Bull prefers moderation." Annotation: 159 Annotation: THI. 53, K Collector's Mark: A Label(s): Russia, Austria, Holland-, Bernadotte

Engraved plate by Recchi and Cortella after Tasnière; elaborate catafalque in Baroque church. From Giulio Vasco, 'Del funerale celebrato nel Duomo di Torino all'altezza reale di Carlo Emanuele II. Duca di Savoia, Principe di Piemonte, Rè di Cipri, &c.' (Turin: Bartolomeo Zappata, 1675) Engraved plate by Recchi and Cortella after Tasnière; elaborate catafalque in Baroque church. From Giulio Vasco, 'Del funerale celebrato nel Duomo di Torino all'altezza reale di Carlo Emanuele II. Duca di Savoia, Principe di Piemonte, Rè di Cipri, &c.' (Turin: Bartolomeo Zappata, 1675) Upright folio; margins trimmed close; clean. title provided by cataloger

Lithograph by Höfelich after Eissner; view of catafalque in church, 2 sentries in foreground. Lithograph by Höfelich after Eissner; view of catafalque in church, 2 sentries in foreground. Large upright folio; margins intact; margins worn and slightly foxed. Vienna, Christian Nebehay, 1958.

Color aquatint by R. Havell & Son; view towards chapel and other buildings of castle group, showing vehicles, small figures of pedestrians, soldiers etc. in foreground. Color aquatint by R. Havell & Son; view towards chapel and other buildings of castle group, showing vehicles, small figures of pedestrians, soldiers etc. in foreground. Large oblong folio, matted; margins trimmed. London, Parker Gallery, 1952.

Copper-engraving; helmet and spurs resting on cushion From 'Suecia Antiqua et Hodierna'. Copper-engraving; helmet and spurs resting on cushion From 'Suecia Antiqua et Hodierna'. Upright; margins severely trimmed; slightly foxed. Leichtenstein-Hauslab Collection, 1951.

composed and arranged for the piano forte by Jos. Rocca. As played by White's Cornet Band. Cover lith. ill. by E.W. Bouvé after Whitaker: Soul of Soldiery regiment on parade passing Jones' Eagle Hotel in New Bedford.

2nd in suite of 3 col. battle scenes after Szyk; wounded general carried from battlefield by soldiers. 2nd in suite of 3 col. battle scenes after Szyk; wounded general carried from battlefield by soldiers. Upright, matted; margins; signed on mats by artist. Philadelphia, Charles Sessler, 1948.

One of a collection of three photographs of Casey family members. Sepia photograph of young soldier in uniform, facing left. One of a collection of three photographs of Casey family members. Sepia photograph of young soldier in uniform, facing left. Upright medium folio;1 of 3; margins; clean.

One of a collection of three photographs of members of the Casey family. Bust black and white photograph of officer in uniform. One of a collection of three photographs of members of the Casey family. Bust black and white photograph of officer in uniform. Upright medium folio; one of 3; margins; attached to cream board.

One of a collection of three photographs of members of the Casey family; sepia photograph of soldier in Navy uniform, facing right. One of a collection of three photographs of members of the Casey family; sepia photograph of soldier in Navy uniform, facing right. Upright medium folio; matted; margins; clean.

Hand-colored etched caricature, unsigned; highland soldier threatening tramps in doorway; song printed below. Hand-colored etched caricature, unsigned; highland soldier threatening tramps in doorway; song printed below. Upright folio; plate mark, margins intact; clean. London, Spencer, 1955.

Interior of an army barracks with a sleeping soldier. The barracks includesimaginary elements of home such as a canopied bed, sofa, lamp, washing machine, vacuum cleaner, carpet, slippers and sofa side table with pipe. Interior of an army barracks with a sleeping soldier. The barracks includesimaginary elements of home such as a canopied bed, sofa, lamp, washing machine, vacuum cleaner, carpet, slippers and sofa side table with pipe. Tompkins served with the 603rd Engineer Camouflage Battalion, part of the 23d Headquarters Special Troops (the so-called 'Ghost Army').

Broadside list with wood-engraved headpiece of trophies, and illustration of grenadier. Broadside list with wood-engraved headpiece of trophies, and illustration of grenadier. Large upright folio; margins intact; clean. N.Y., Walter Schatzki, 1967.

Chart of general officers with engraved headpiece of arms and trophies at top, hand-colored engraved illustration of grenadier at lower right. Chart of general officers with engraved headpiece of arms and trophies at top, hand-colored engraved illustration of grenadier at lower right. Large upright folio; margins intact; clean; in large acid-free broadside folder. Brussels, Delacre sale, 1961.

Watercolor of soldiers walking through deep swamp in jungle carrying boxes on shoulders, one soldier seated with head down. Watercolor of soldiers walking through deep swamp in jungle carrying boxes on shoulders, one soldier seated with head down. 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.

1st in pair of original watercolors signed by Norie; Indians carrying palanquin enclosed by drapery, accompanied by escort of 3 British infantrymen. [See also: The wounded officer, India, c. 1857.] 1st in pair of original watercolors signed by Norie; Indians carrying palanquin enclosed by drapery, accompanied by escort of 3 British infantrymen. [See also: The wounded officer, India, c. 1857.] Small upright folio, matted; no margins; clean. N.Y., Rockman Prints, 1952. title provided by cataloger

Amid a war-damaged landscape littered with debris and dead trees, four Marines carry a fifth wounded comrade on a stretcher. Amid a war-damaged landscape littered with debris and dead trees, four Marines carry a fifth wounded comrade on a stretcher. 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.

Amid a war-damaged landscape littered with debris and dead trees, four Marines carry a fifth wounded comrade on a stretcher. Amid a war-damaged landscape littered with debris and dead trees, four Marines carry a fifth wounded comrade on a stretcher. 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.

From collection of 71 original signed ink and watercolor drawings by Italo Cenni, of uniform figures, and of insignia, accessories, equipment, vehicles; with pages of descriptive notes, and 2 pages from magazine with halftone plates of uniforms; collection of artillery mounts and wagons. From collection of 71 original signed ink and watercolor drawings by Italo Cenni, of uniform figures, and of insignia, accessories, equipment, vehicles; with pages of descriptive notes, and 2 pages from magazine with halftone plates of uniforms; collection of artillery mounts and wagons. Folio, unbound; in red cloth slipcase, green leather label stamped gold; clean. Camden, Me., F. & G. Staack, 1951. title provided by cataloger (from pages of handwritten notes by artist)

Etching signed in pencil by artist; group of 6 soldiers standing and seated in dug-out Etching signed in pencil by artist; group of 6 soldiers standing and seated in dug-out From set of etchings entitled 'Impressions de Guerre. Gravures Originales de A. Brouet 1914-1915'

6th in suite of 8 mounted small oval engraved plates by Huchtenburgh after van der Meulen; also, suite of 6 large mounted oblong engraved plates by same; (royal?) carriage accompanied by mounted escort moving toward town in distance; 3 mounted cavalrymen in left foreground. 6th in suite of 8 mounted small oval engraved plates by Huchtenburgh after van der Meulen; also, suite of 6 large mounted oblong engraved plates by same; (royal?) carriage accompanied by mounted escort moving toward town in distance; 3 mounted cavalrymen in left foreground. Oblong; bound in blue cloth, white leather label stamped gold.

2nd in collection of 5 copper-engraved plates of equestrian military portraits by and after Furst; mounted prince holding baton, facing right, troops in the background 2nd in collection of 5 copper-engraved plates of equestrian military portraits by and after Furst; mounted prince holding baton, facing right, troops in the background Upright folio; margins trimmed close; cleaned; in 1/2-green and red cloth portfolio, red leather labels st. gold. Leichtenstein-Hauslab Collection, 1951

Engraving by Rössler; oval bust portrait in armor, hatless. Engraving by Rössler; oval bust portrait in armor, hatless. Upright; margins trimmed. N.Y., Rockman Prints, 1964.

Engraving by W.P. Kilian; half-length portrait in armor, right hand on hip, background of drapery. Engraving by W.P. Kilian; half-length portrait in armor, right hand on hip, background of drapery. Upright; plate mark, margins trimmed. New York, Rockman Prints, 1964.

Engraving by Cl. Kohl after Graff; half-length portrait in armor in oval enframement with regalia etc. at lower right. Engraving by Cl. Kohl after Graff; half-length portrait in armor in oval enframement with regalia etc. at lower right. Upright folio; plate mark, margins trimmed; clean. N.Y., Rockman Prints, 1961.

Steel-engraving by Forssell after Gérard; full-length portrait in uniform, drapery background with seascape. Steel-engraving by Forssell after Gérard; full-length portrait in uniform, drapery background with seascape. Large upright folio, matted; margins intact. New York, Rockman Prints, 1948.