2nd in collection of 10 original pen and ink drawings signed and dated by Jeffreys; staff officer walking toward left with lady in stylish hat and fur coat. Title word "staff" drawn to mimic notes on a musical staff. 2nd in collection of 10 original pen and ink drawings signed and dated by Jeffreys; staff officer walking toward left with lady in stylish hat and fur coat. Title word "staff" drawn to mimic notes on a musical staff. Upright folio, unbound; no margins; in blue cloth portfolio, white label: "Jeffreys, Edward Grover. Scenes during World War One. 10 pen and ink drawings on paper" (older red label scratched off spine). Stow-on-the-Wold, Christopher Clarke Antiques, 2012

Original watercolor signed and dated 1891 by (Cecil? Charles) Conroy; squadron halted during review or maneuvers in countryside, 2 mounted officers in left foreground. Original watercolor signed and dated 1891 by (Cecil? Charles) Conroy; squadron halted during review or maneuvers in countryside, 2 mounted officers in left foreground. Oblong folio; no margins; foxed. N.Y., Rockman Prints, 1957.

Hand-colored etched caricature by Rowlandson after Woodward. 'A magnificent Spanish don, fiercely mustachioed, hands on hips, kicks the posterior of a French officer, evidently King Joseph, saying, "Va-ten Cocquin." Cocquin. The Frenchman (l.), stooping obsequiously, hat in hand, looks round in terror at the Spaniard, saying, "Votre tres homble Serviteur Monsieur." Beside him is a signpost, pointing (l.) 'To France'. They stand in a barren undulating plain, a Gothic building is on the extreme right' -- British Museum Hand-colored etched caricature by Rowlandson after Woodward. 'A magnificent Spanish don, fiercely mustachioed, hands on hips, kicks the posterior of a French officer, evidently King Joseph, saying, "Va-ten Cocquin." Cocquin. The Frenchman (l.), stooping obsequiously, hat in hand, looks round in terror at the Spaniard, saying, "Votre tres homble Serviteur Monsieur." Beside him is a signpost, pointing (l.) 'To France'. They stand in a barren undulating plain, a Gothic building is on the extreme right' -- British Museum Oblong medium folio; margins. New York, Walter Schatzki, 1973. Text: Woodward Del Pubd. Sept 12.1808. by R. Ackerman No. 101 Strand. Rowlandson Fc

Engraving by P. Benazech after Archibald Campbell; view from the sea with five British ships in the foreground firing salutes; fort in background on hill plateau. Engraving by P. Benazech after Archibald Campbell; view from the sea with five British ships in the foreground firing salutes; fort in background on hill plateau. Oblong folio; plate mark, margins worn and torn. New York, Donald Heald Rare Books, 2006.

One of a collection of 21 mounted original unsigned watercolor and wash drawings with typewritten titles pasted on back. Soldier standing on wall with sword in raised right hand while figures with swords and guns try to attack. One of a collection of 21 mounted original unsigned watercolor and wash drawings with typewritten titles pasted on back. Soldier standing on wall with sword in raised right hand while figures with swords and guns try to attack. Unbound, mounted on board; in red cloth portfolio, green leather label stamped gold; clean. For or copied from Charles Ball, 'The History of the Indian Mutiny'.

Engraved broadside song-sheet with crude oval engraved illustration at top showing officers at table in tent, 2 sentries outside in right background with cannon. Engraved broadside song-sheet with crude oval engraved illustration at top showing officers at table in tent, 2 sentries outside in right background with cannon. Small upright folio, matted; plate mark, margins intact; creased, slight foxing. London, Spencer, 1955.

Original watercolor caricature signed by I.C.; standing figure of portly officer in uniform, right hand resting on baton or cane. Original watercolor caricature signed by I.C.; standing figure of portly officer in uniform, right hand resting on baton or cane. Upright, matted; no margins; slightly soiled.

One of a collection of illustrations of Austrian soldiers, this one by Claesz. after Binck, originally attributed to Aldegrever due to monogram in top right. 'A soldier and his family; reverse copy after Binck; a foot soldier in frontal view at left; a child holding a cockerel at right; behind the boy a female figure carrying a dog. In this second state Claesz's monogram was changed to Aldegrever's. The female figure a sutler?' -- British Museum One of a collection of illustrations of Austrian soldiers, this one by Claesz. after Binck, originally attributed to Aldegrever due to monogram in top right. 'A soldier and his family; reverse copy after Binck; a foot soldier in frontal view at left; a child holding a cockerel at right; behind the boy a female figure carrying a dog. In this second state Claesz's monogram was changed to Aldegrever's. The female figure a sutler?' -- British Museum Upright; margins trimmed close. Leichtenstein-Hauslab Collection, 1951. Title supplied by cataloger.

Partially hand-colored etched caricature by and after Rowlandson, published June 21, 1808; officers around table in cabin, drinking port, sailor-servant opening bottles at right. Partially hand-colored etched caricature by and after Rowlandson, published June 21, 1808; officers around table in cabin, drinking port, sailor-servant opening bottles at right. Oblong folio; margins trimmed; another copy in Robinson Collection, Vol. IV, Part II (Nautical Drama; The Sailor on the Stage). N.Y., Walter Schatzki, 1965.

A Marine sharpshooter stands in profile with rifle in hand, as another Marine points in front of them. The background of the image is left blank. A Marine sharpshooter stands in profile with rifle in hand, as another Marine points in front of them. The background of the image is left blank. Title from typed label affixed to verso. 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.

5th in collection of hand-colored (with 1 or 2 exceptions) etched or engraved caricature plates; standing profile figure of chubby soldier or officer (Captain Smart) in forest, blowing hunting horn. 5th in collection of hand-colored (with 1 or 2 exceptions) etched or engraved caricature plates; standing profile figure of chubby soldier or officer (Captain Smart) in forest, blowing hunting horn. Matted; no margins; clean. Series title supplied by cataloger

Hand-colored oval etched caricature by and after Js. Gillray, published June 19th, 1795; full-length portrait of the Duke of Gloucester in uniform, outdoors, standing, one hand in pocket. Hand-colored oval etched caricature by and after Js. Gillray, published June 19th, 1795; full-length portrait of the Duke of Gloucester in uniform, outdoors, standing, one hand in pocket. Small upright folio, matted; plate mark; margins trimmed; slightly soiled. London, Parker Gallery, 1953.

Original watercolor signed and dated by W.D. (Harwood); standing uniform figure with grounded rifle. Original watercolor signed and dated by W.D. (Harwood); standing uniform figure with grounded rifle. Narrow upright folio, matted; margins; clean. Title supplied by cataloger. N.Y., Rockman Prints, 1953.

Like a roasted goose, Napoleon is served up to John Bull on a platter; he has been trussed and skewered and awaits the "Volunteer Carving Knife." A tankard overflowing with frothy ale is imprinted with the slogan "Destruction to the Enemies of Great Britain." This print is in good condition. Like a roasted goose, Napoleon is served up to John Bull on a platter; he has been trussed and skewered and awaits the "Volunteer Carving Knife." A tankard overflowing with frothy ale is imprinted with the slogan "Destruction to the Enemies of Great Britain." This print is in good condition. Published by William Holland. Caption: London Pub Nov. 1803 by W. Holland N. 11 Cockspur Street Pall Mall

One of a collection of 5 color lithograph plates; standing figure with rifle in front of horse. One of a collection of 5 color lithograph plates; standing figure with rifle in front of horse. From: 'Cutch; or, Random Sketches, taken during a Residence in One of the Northern Provinces of Western India; Interspersed with Legends and Traditions by Mrs. Postans (London, Smith, Elder and Co.,1839). Series title added by cataloger. London, Parker Gallery, 1950.

An engraving of the Italian Parliament in session at Turin An engraving of the Italian Parliament in session at Turin Published in Illustrated Times, July 26, 1862, vol. 1, p. 200.

1 of 31 original gouache paintings (by Ram Dutta?) in an album; officer romancing lady on chaise longe 1 of 31 original gouache paintings (by Ram Dutta?) in an album; officer romancing lady on chaise longe Album inscribed in ink on flyleaf 'Wm. Jenkins. Ram dutta' Small upright folio. London, Maggs, 1978. Prints, Drawings and Watercolors from the Anne S.K. Brown Military Collection., Brown University Library Digital object made available by: Brown University Library, John Hay Library, University Archives and Manuscripts, Box A, Brown University, Providence, RI, 02912, U.S.A., (http://library.brown.edu/)

Unsigned watercolor; soldier leaning on rifle in desert Unsigned watercolor; soldier leaning on rifle in desert Upright medium folio. Stow-on-the-Wold, Christopher Clarke, 2011. Prints, Drawings and Watercolors from the Anne S.K. Brown Military Collection., Brown University Library Digital object made available by: Brown University Library, John Hay Library, University Archives and Manuscripts, Box A, Brown University, Providence, RI, 02912, U.S.A., (http://library.brown.edu/)

Unsigned original native watercolor; standing figure of native soldier in uniform and of wife, landscape background. Unsigned original native watercolor; standing figure of native soldier in uniform and of wife, landscape background. Upright medium folio; margins. London, Maggs, 1969. Title supplied by cataloger

Hand-colored lithograph (crude); Highland soldier and young woman holding hands, outdoors. Hand-colored lithograph (crude); Highland soldier and young woman holding hands, outdoors. Small upright folio, matted; margins; yellowed. London, Parker Gallery, 1965.

Mezzotint by C. Townley after Hogarth; bust portrait in uniform, hatless. Mezzotint by C. Townley after Hogarth; bust portrait in uniform, hatless. Upright folio, matted; plate mark, margins trimmed. London, Parker Gallery, 1950.

Stipple-engraving by Suntach after Banbury; full-length figure with musket, outdoors, wearing kilt and military jacket and equipment. Stipple-engraving by Suntach after Banbury; full-length figure with musket, outdoors, wearing kilt and military jacket and equipment. Upright medium folio, matted; plate mark, margins trimmed; clean.

Hand-colored engraved cartoon (facsimile?). 'Charles denounces British and Indian depredations on the American frontier during the War of 1812, alluding specifically to the practice of offering bounties for American scalps. The cartoon may have been prompted by the August 1812 massacre at Chicago and the purchase of American scalps there by British Colonel Proctor. On the left a British officer receives a bloody scalp from an Indian, who has a purse with "Reward for Sixteen Scalps" hanging from his flintlock. The Indian's knife and tomahawk bear the initials "GR" (for Georgius Rex, i.e., King George). The officer says, "Bring me the Scalps and the King our master will reward you." From a button on the officer's coat hangs a tag or sack labeled "Secret Service Money." At right, another Indian is in the process of scalping a fallen soldier; another dead, scalped soldier lies nearby. In the background two Indians and two soldiers dance about a campfire. Below are eight lines of verse: "Arise Columbia's Sons and forward press, / Your Country's wrongs call loudly for redress; / The Savage Indian with his Scalping knife, / Or Tomahawk may seek to take your life; / By bravery aw'd they'll in a dreadful Fright, / Shrink back for Refuge to the Woods in Flight; / Their British leaders then will quickly shake, / And for those wrongs shall restitution make."' -- Library of Congress Hand-colored engraved cartoon (facsimile?). 'Charles denounces British and Indian depredations on the American frontier during the War of 1812, alluding specifically to the practice of offering bounties for American scalps. The cartoon may have been prompted by the August 1812 massacre at Chicago and the purchase of American scalps there by British Colonel Proctor. On the left a British officer receives a bloody scalp from an Indian, who has a purse with "Reward for Sixteen Scalps" hanging from his flintlock. The Indian's knife and tomahawk bear the initials "GR" (for Georgius Rex, i.e., King George). The officer says, "Bring me the Scalps and the King our master will reward you." From a button on the officer's coat hangs a tag or sack labeled "Secret Service Money." At right, another Indian is in the process of scalping a fallen soldier; another dead, scalped soldier lies nearby. In the background two Indians and two soldiers dance about a campfire. Below are eight lines of verse: "Arise Columbia's Sons and forward press, / Your Country's wrongs call loudly for redress; / The Savage Indian with his Scalping knife, / Or Tomahawk may seek to take your life; / By bravery aw'd they'll in a dreadful Fright, / Shrink back for Refuge to the Woods in Flight; / Their British leaders then will quickly shake, / And for those wrongs shall restitution make."' -- Library of Congress Oblong medium folio, matted; plate mark, margins intact; margins repaired, clean. N.Y., Old Print Shop, 1946.

Hand-colored etched caricature; royal Dukes (Clarence, Cambridge, Kent and Cumberland) with wives, of whom one holds baby and another is exaggeratedly pregnant (with the future Queen Victoria), to the left, William IV and Adelaide. Hand-colored etched caricature; royal Dukes (Clarence, Cambridge, Kent and Cumberland) with wives, of whom one holds baby and another is exaggeratedly pregnant (with the future Queen Victoria), to the left, William IV and Adelaide. Oblong medium folio; margins trimmed; clean. N.Y., Walter Schatzki, 1958.

In this charming satire, a group of unruly English men and women swarm the exhibition of Napoleon's carriage and his personal effects held at Bullock's London Museum, at the Egyptian Hall, 22 Piccadilly. The carriage is the main attraction of the exhibition, which also features paintings, fabrics, a coffee set, a chamber pot and "one of Napoleon's Shirts," among other items. A bust of Homer placed above a cabinet containing the chamber pot smiles amusedly at the crowd. A large crowd swarms into the carriage. Half of the figures attempt to push their way into the box, the other half climb on top. A couple has installed themselves in the driver's bench and gesture as if to drive a team of horses onwards. Others stand by the body of the carriage and inspect "zabor gashes" and a large storage box attached to the carriage that contained "The Iron [Bed] Stead." On the left side of the image, visitors examine other artifacts. A gentleman uses a magnifying glass to inspect a box that once "contained upwards of 100 articles of Solid Gold, &c.", behind him another gentleman displays one of Napoleon's shirts to a group of women who finger the fabric. On the far left a woman leads her son into the adjoining room, exclaiming, "Look at the Horses Tommy." A grotesqued French man stands weeping into a handkerchief in front of a bust of Napoleon. He mourns, "Ah! Mon dear Empereur dis is de shicking sights." This print has been trimmed at the edges and mounted inside a window cut into another sheet of paper. In this charming satire, a group of unruly English men and women swarm the exhibition of Napoleon's carriage and his personal effects held at Bullock's London Museum, at the Egyptian Hall, 22 Piccadilly. The carriage is the main attraction of the exhibition, which also features paintings, fabrics, a coffee set, a chamber pot and "one of Napoleon's Shirts," among other items. A bust of Homer placed above a cabinet containing the chamber pot smiles amusedly at the crowd. A large crowd swarms into the carriage. Half of the figures attempt to push their way into the box, the other half climb on top. A couple has installed themselves in the driver's bench and gesture as if to drive a team of horses onwards. Others stand by the body of the carriage and inspect "zabor gashes" and a large storage box attached to the carriage that contained "The Iron [Bed] Stead." On the left side of the image, visitors examine other artifacts. A gentleman uses a magnifying glass to inspect a box that once "contained upwards of 100 articles of Solid Gold, &c.", behind him another gentleman displays one of Napoleon's shirts to a group of women who finger the fabric. On the far left a woman leads her son into the adjoining room, exclaiming, "Look at the Horses Tommy." A grotesqued French man stands weeping into a handkerchief in front of a bust of Napoleon. He mourns, "Ah! Mon dear Empereur dis is de shicking sights." This print has been trimmed at the edges and mounted inside a window cut into another sheet of paper. On the one hand, this image satirizes the indecorous behavior of the London public who attended spectacular exhibitions such as this. But also it demonstrates that Napoleon's artifacts, which for the French held the cultural status assigned to religious relics, are little more than mere objects. While the carriage, the garments and the other trappings may have once inspired awe (or once bewitched the French public), their powers have been drained by their new location as spoils of war. The use the viewers make of the objects is one more level of humiliation for Napoleon. Inscription: Pubd. by H. Humphrey St James's St London Jany 1816. Printed Signature: G. Cruikshank fect.

Original unsigned watercolor caricature, by Willyams; obese revolutionary officer on horse receiving note at center from British officer, soldiers standing nearby at right; 3 sailors in boat at left, guillotine set up on escarpment, soldiers with head on pike behind wall at upper right. Probably depicts the French Governor General of Martinique at the time, Donatien-Marie-Joseph de Vimeur, surrendering to Sir Charles Grey, commander of the British forces which had captured the island Original unsigned watercolor caricature, by Willyams; obese revolutionary officer on horse receiving note at center from British officer, soldiers standing nearby at right; 3 sailors in boat at left, guillotine set up on escarpment, soldiers with head on pike behind wall at upper right. Probably depicts the French Governor General of Martinique at the time, Donatien-Marie-Joseph de Vimeur, surrendering to Sir Charles Grey, commander of the British forces which had captured the island Oblong medium folio, matted; on mount with ink and watercolor border; clean. London, Parker Gallery, 1975.

Color lithograph caricature, unsigned; militia men drilling in confusion on common, women spectators etc. running away. Color lithograph caricature, unsigned; militia men drilling in confusion on common, women spectators etc. running away. Small oblong folio, matted; margins; repaired tears, creased, worn and soiled. London, Redfern, 1955.

Engraving (by Sandby). 'Two soldiers embracing two women under the trees in a park, with a dog watching from the left, a soldier leaning against a tree on the right and two children, one relieving itself, in the far right' -- British Museum. Engraving (by Sandby). 'Two soldiers embracing two women under the trees in a park, with a dog watching from the left, a soldier leaning against a tree on the right and two children, one relieving itself, in the far right' -- British Museum. Small upright folio; plate mark, margins intact; clean, repaired tear. N.Y., Rockman Prints, 1960.

One of a suite of 11 original unsigned watercolors evidently by a native artist. Figure seated on rug or blanket making scabbards to sell. One of a suite of 11 original unsigned watercolors evidently by a native artist. Figure seated on rug or blanket making scabbards to sell. Unbound, mounted on beige boards; slightly soiled, in red cloth slipcase, green leather label stamped gold "Indian Seapoys and Tradesmen. Original Water Colors, c. 1810". London, Maggs, 1958.

One of 2 hand-colored engraved naval caricatures; sailor standing at graveside opposite Quaker mourners. One of 2 hand-colored engraved naval caricatures; sailor standing at graveside opposite Quaker mourners. Small oblong folio; plate marks, margins intact; clean. London, Parker Gallery, 1950.