Hand-colored etched caricature, published March 1802; 'Bonaparte stands in profile on the extreme left, playing a fife and tabor to which the Powers of Europe dance, holding hands to form a circle. He says: "Ah Ca-ira - Ca-ira." They are (left to right): Prussia in cocked hat and military dress, saying, "It is something like a Prussian Reel"; Turkey wearing a jewelled turban; Spain wearing the usual cloak, slashed tunic, and feathered hat, and saying, "By St Diego this consular Music is very delightful." John Bull, the only full-face figure, is the most bulky and jovial; he says: "Ah, Ah - here's your Old friend Johnny Bull, as merry as the best of them, he never likes to be out of a snug party." Austria is in back view, wearing military coat and boots but no hat; he says: "It beats a German Waltz hollow"; Russia, in fur cap and fur-trimmed tunic, says: "It is enough to warm the heart of a Russian"; a fat Dutch burgher, wearing round hat and bulky breeches, says 'This is the way to be happy Mynheer jig it away." -- British Museum. Hand-colored etched caricature, published March 1802; 'Bonaparte stands in profile on the extreme left, playing a fife and tabor to which the Powers of Europe dance, holding hands to form a circle. He says: "Ah Ca-ira - Ca-ira." They are (left to right): Prussia in cocked hat and military dress, saying, "It is something like a Prussian Reel"; Turkey wearing a jewelled turban; Spain wearing the usual cloak, slashed tunic, and feathered hat, and saying, "By St Diego this consular Music is very delightful." John Bull, the only full-face figure, is the most bulky and jovial; he says: "Ah, Ah - here's your Old friend Johnny Bull, as merry as the best of them, he never likes to be out of a snug party." Austria is in back view, wearing military coat and boots but no hat; he says: "It beats a German Waltz hollow"; Russia, in fur cap and fur-trimmed tunic, says: "It is enough to warm the heart of a Russian"; a fat Dutch burgher, wearing round hat and bulky breeches, says 'This is the way to be happy Mynheer jig it away." -- British Museum. Oblong medium folio; plate mark, margins. N.Y., Walter Schatzki, 1973.

Broadside with engraved illustration at top of volunteer infantryman with standard. Broadside with engraved illustration at top of volunteer infantryman with standard. Upright folio, matted; margins intact; slightly yellowed. N.Y., Rockman Prints, 1953.

Photographic print inscribed bottom right: 'D.H. Anderson, N.Y.', based on original photographs; group portrait of generals in civilian dress, some officers, women and children in front of porch (title and descriptive text below missing). [Note: the Library of Congress has a similar photograph dated July 1868 and attributed to Andrew J. Russell; the date 'fall of 1867' on the current published photographic print appears to be incorrect as the event took place in July 1868. The dignitaries were at Fort Sanders with the Peace Commissioners for treaty talks with Red Cloud of the Oglala Lakota who was representing the Oglalla, Northern Cheyennes, Arapaho and Sioux.] Photographic print inscribed bottom right: 'D.H. Anderson, N.Y.', based on original photographs; group portrait of generals in civilian dress, some officers, women and children in front of porch (title and descriptive text below missing). [Note: the Library of Congress has a similar photograph dated July 1868 and attributed to Andrew J. Russell; the date 'fall of 1867' on the current published photographic print appears to be incorrect as the event took place in July 1868. The dignitaries were at Fort Sanders with the Peace Commissioners for treaty talks with Red Cloud of the Oglala Lakota who was representing the Oglalla, Northern Cheyennes, Arapaho and Sioux.] Presented, 1951, by Mrs. Sherman Haight.

Hand-colored line engraved print with muster-roll, list of battles, dead etc., 4 uniform figures of 1750, 1850, 1903 (2), standards, decorations, badge, arms etc. Hand-colored line engraved print with muster-roll, list of battles, dead etc., 4 uniform figures of 1750, 1850, 1903 (2), standards, decorations, badge, arms etc. Large upright folio, matted; margins; clean.

Engraved cover illustration of 2 volunteer infantrymen holding shield surmounted by crown and containing title; 40 small engraved vignettes of soldier figures in manual of arms.

Original pen and ink sketch, signed by Reeks, of a marine demolition man preparing explosives to use against the Japanese on Iwo Jima. Original pen and ink sketch, signed by Reeks, of a marine demolition man preparing explosives to use against the Japanese on Iwo Jima. 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.

A US Marine, seen from the rear, walks to the entrance to a Japanese weather station and peers in, rifle in hand. Debris and a dead tree surround him. A US Marine, seen from the rear, walks to the entrance to a Japanese weather station and peers in, rifle in hand. Debris and a dead tree surround him. 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.

One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Marine with gun standing on harbor wall by capstan and rope, naval ships achored in harbor behind. One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Marine with gun standing on harbor wall by capstan and rope, naval ships achored in harbor behind. 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.

The Marshal Foch victory-harmony banner; contains 48 flags and motto "Victoria concordia crescit"

Hand-colored engraved caricature (after Gillray), published Augt. 22d, 1787. 'Soldiers march impassively in double file through a crowded street, and over the prostrate bodies of those whom they have overthrown. Military arrogance and foppishness are personified by the officer, much caricatured, with a grotesquely elongated waist. He places one toe on the body of a fish-woman who lies on her back, her legs much exposed. His outstretched right leg is poised above a crouching woman who tries to protect her barrow of vegetables. Two men holding muskets precede the officer; one tramples on the face of an infant. The officer is followed by a man carrying a pike, behind whom march six soldiers in double file carrying muskets with fixed bayonets. All march ruthlessly, eyes front, regardless of the havoc they are causing. A porter lies on the ground clutching a broken wooden case faintly inscribed 'Mr . . . Silversmith'; from it pour plate and jewels. The porter's knee is badly damaged, and his knot has been knocked from his shoulders. A milliner or courtesan lies on her back clutching the hair of a barber who clasps her leg. On the extreme right a prostrate woman tries to protect her infant, and a newsboy with his horn and a sheaf of the 'Morning Herald' tries to escape from the trampling soldiers. Other victims between the soldiers and the wall are a woman with a crutch, a shoeblack, a man with a tray of rolls. A pair of beseeching hands and two female legs (right) waving in the air add to the turmoil, which is accentuated by the writhing forms of the fish which fall from the fishwoman's basket. The background is formed by the wall of a stone building with two elaborately barred niches, and by the window of a silversmith's shop (right). After the title is engraved 'Vide. The Strand, Fleet Street, Cheapside &c. Morning & Evening.' -- British Museum Hand-colored engraved caricature (after Gillray), published Augt. 22d, 1787. 'Soldiers march impassively in double file through a crowded street, and over the prostrate bodies of those whom they have overthrown. Military arrogance and foppishness are personified by the officer, much caricatured, with a grotesquely elongated waist. He places one toe on the body of a fish-woman who lies on her back, her legs much exposed. His outstretched right leg is poised above a crouching woman who tries to protect her barrow of vegetables. Two men holding muskets precede the officer; one tramples on the face of an infant. The officer is followed by a man carrying a pike, behind whom march six soldiers in double file carrying muskets with fixed bayonets. All march ruthlessly, eyes front, regardless of the havoc they are causing. A porter lies on the ground clutching a broken wooden case faintly inscribed 'Mr . . . Silversmith'; from it pour plate and jewels. The porter's knee is badly damaged, and his knot has been knocked from his shoulders. A milliner or courtesan lies on her back clutching the hair of a barber who clasps her leg. On the extreme right a prostrate woman tries to protect her infant, and a newsboy with his horn and a sheaf of the 'Morning Herald' tries to escape from the trampling soldiers. Other victims between the soldiers and the wall are a woman with a crutch, a shoeblack, a man with a tray of rolls. A pair of beseeching hands and two female legs (right) waving in the air add to the turmoil, which is accentuated by the writhing forms of the fish which fall from the fishwoman's basket. The background is formed by the wall of a stone building with two elaborately barred niches, and by the window of a silversmith's shop (right). After the title is engraved 'Vide. The Strand, Fleet Street, Cheapside &c. Morning & Evening.' -- British Museum Large oblong folio, matted; plate mark, margins; clean. London, Parker Gallery, 1949.

Etched caricature by M(atthew) D(arly) after Topham, published April 10, 1777; comic group of City Militia on march, preceded by drummer, 2 doves flying above. Etched caricature by M(atthew) D(arly) after Topham, published April 10, 1777; comic group of City Militia on march, preceded by drummer, 2 doves flying above. Oblong medium folio, matted; plate mark, margins trimmed close; clean. N.Y., Rockman Prints, 1953.

Hand-colored etched caricature by and after I. Cruikshank, published Nov. 18, 1800; group of men, of which 1 is an admiral, sitting and smoking pipes with woman, sailor(?) offering light from candle at left. Personages include the Lord Mayor Sir William Staines, William Pitt, Lord Nelson and Lady Hamilton Hand-colored etched caricature by and after I. Cruikshank, published Nov. 18, 1800; group of men, of which 1 is an admiral, sitting and smoking pipes with woman, sailor(?) offering light from candle at left. Personages include the Lord Mayor Sir William Staines, William Pitt, Lord Nelson and Lady Hamilton Oblong medium folio, mounted on blue paper; plate mark, margins trimmed; slightly worn. N.Y., Walter Schatzki, 1961.

One of a suite of 11 original unsigned watercolors, evidently by a native artist. Figure with green cape seated on ground, selling swords and other weapons. One of a suite of 11 original unsigned watercolors, evidently by a native artist. Figure with green cape seated on ground, selling swords and other weapons. 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 a suite of 11 original unsigned watercolors, evidently by a native artist. Man seated on blanket with 2 black shields or targets. One of a suite of 11 original unsigned watercolors, evidently by a native artist. Man seated on blanket with 2 black shields or targets. 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 a suite of 11 original unsigned watercolors, evidently by a native artist. Man seated on ground, making bows that he will sell. During the late 1700s, the British East India Company expanded its purview in South Asia, bringing its employees from England to establish new lives in India. As expats traveled throughout the region and encountered unfamiliar flora and fauna, stunning ancient monuments, and new peoples and customs, they strove to capture these sights to send or take home as souvenirs. Yet unlike modern tourists with camera phones, eighteenth- and nineteenth-century travelers hired Indian painters to fulfill the same aims. The works produced by these commercial artists often appear in a hybrid of European, Mughal, and regional styles, known collectively as “Company” paintings. While some artists adapted subjects originally made for local consumption as foreign demand rose, others maintained a set repertoire catered to travelers. Among the latter, the paintings preserve a cultural landscape of artisanal traditions and specialized crafts, like the production of bows and arrows, which continued well into the age of firearms. One of a suite of 11 original unsigned watercolors, evidently by a native artist. Man seated on ground, making bows that he will sell. During the late 1700s, the British East India Company expanded its purview in South Asia, bringing its employees from England to establish new lives in India. As expats traveled throughout the region and encountered unfamiliar flora and fauna, stunning ancient monuments, and new peoples and customs, they strove to capture these sights to send or take home as souvenirs. Yet unlike modern tourists with camera phones, eighteenth- and nineteenth-century travelers hired Indian painters to fulfill the same aims. The works produced by these commercial artists often appear in a hybrid of European, Mughal, and regional styles, known collectively as “Company” paintings. While some artists adapted subjects originally made for local consumption as foreign demand rose, others maintained a set repertoire catered to travelers. Among the latter, the paintings preserve a cultural landscape of artisanal traditions and specialized crafts, like the production of bows and arrows, which continued well into the age of firearms. 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.

Hand-colored engraved caricature by and after T. B(rereton?); stout grenadier officer, outdoors, 3 small figures of soldier and two ladies playing cards before tent in left background. Soldier's helmet plate reads 'Mars'; signpost in right foreground reads 'Dartford'. Hand-colored engraved caricature by and after T. B(rereton?); stout grenadier officer, outdoors, 3 small figures of soldier and two ladies playing cards before tent in left background. Soldier's helmet plate reads 'Mars'; signpost in right foreground reads 'Dartford'. Small upright; margins trimmed close; stain at lower right corner. N.Y., Walter Schatzki, 1958.

Hand-colored engraving by J. Chapman after Denon; 1 mounted and 2 standing military costume or uniform figures, obelisks and pyramids in distance. Hand-colored engraving by J. Chapman after Denon; 1 mounted and 2 standing military costume or uniform figures, obelisks and pyramids in distance. Upright, matted; plate mark, margins intact; slightly soiled and yellowed. N.Y., Rockman Prints, 1949.

Color aquatint after Meyer; mameluke on prancing horse facing right, flourishing exercise rod in right hand. Color aquatint after Meyer; mameluke on prancing horse facing right, flourishing exercise rod in right hand. Upright folio; plate mark, margins trimmed; matted; clean. From 'From Views in Egypt, Palestine, and Other Parts of the Ottoman Empire. London: R. Bowyer, 1802-1805'.

1st in collection of 6 chromolithographic plates after Payne, some dated 1892 by artist; mounted officer in scarlet jacket, dragoon helmet, holding sabre at shoulder, riding toward left. 1st in collection of 6 chromolithographic plates after Payne, some dated 1892 by artist; mounted officer in scarlet jacket, dragoon helmet, holding sabre at shoulder, riding toward left. Large upright folio, matted; margins; clean; in red cloth portfolio, maroon cloth label stamped gold. London, Parker Gallery, 1953.

Original penceil sketch signed and dated by Hall; standing figure in military costume with spear, left hand resting on horse. Original penceil sketch signed and dated by Hall; standing figure in military costume with spear, left hand resting on horse. Upright; margins; spot in lower margin. N.Y., Rockman Prints, 1959.

A very stout man of plebeian appearance standing in profile to the right. He wears a furred livery gown, and his hair is in a long doubled-up macaroni club. In his right hand is a knife combined with a spoon by a folding device; in his left is a two-pronged fork. Published 25 March 1772. -- British Museum. From 'Caricatures, Macaronies & Characters by sundry ladies gentlemen artists &c, published by MDarly, No.39 Strand 1772' (Vol.2). A very stout man of plebeian appearance standing in profile to the right. He wears a furred livery gown, and his hair is in a long doubled-up macaroni club. In his right hand is a knife combined with a spoon by a folding device; in his left is a two-pronged fork. Published 25 March 1772. -- British Museum. From 'Caricatures, Macaronies & Characters by sundry ladies gentlemen artists &c, published by MDarly, No.39 Strand 1772' (Vol.2).

One of 19 colored (with three uncolored) engraved caricatures; a general in red uniform, big belly, standing. One of 19 colored (with three uncolored) engraved caricatures; a general in red uniform, big belly, standing. Unbound; in red cloth portfolio, red leather backstrip label stamped gold; most clean, some worn.

On the left of the sheet six national figures representing the allied nations pull on a bundle of ropes attached to Dutch men-of-war. Cheerfully and in harmony, these figures tug at the ropes that will eventually pull the ships into deeper, navigable water. On the right of the sheet, the distant ships swarm with tiny figures. Dutchmen, distinguishable by their frumpy clothing and large bottoms, scurry over the riggings. One group stands near the shore and, putting their backsides to the hulls of the ships, attempts to push the fleet. Napoleon and Joseph Bonaparte, also in the right distance run towards the departing ships and bemoan their loss. The sun, inscribed "Sunset of Tyranny" sets on the horizon. Just to its left, five large allied vessels guard the waters. On the left of the sheet six national figures representing the allied nations pull on a bundle of ropes attached to Dutch men-of-war. Cheerfully and in harmony, these figures tug at the ropes that will eventually pull the ships into deeper, navigable water. On the right of the sheet, the distant ships swarm with tiny figures. Dutchmen, distinguishable by their frumpy clothing and large bottoms, scurry over the riggings. One group stands near the shore and, putting their backsides to the hulls of the ships, attempts to push the fleet. Napoleon and Joseph Bonaparte, also in the right distance run towards the departing ships and bemoan their loss. The sun, inscribed "Sunset of Tyranny" sets on the horizon. Just to its left, five large allied vessels guard the waters. Published by Thomas Tegg, 111 Cheapside, November 25, 1813. Print is not signed by Rowlandson, but is securely attributable to his hand. This caricature celebrates the liberation of Holland in November of 1813. George notes that here the Allies are rightly credited with securing Dutch freedom from the French. Caption: Published by Thos Tegg 1813 Novr 25 No 111 Cheapside Dialogue: Napoleon: "Oh Brother Joe - I'm all Fire, My Passion eats me up Such unlooked for Storms of ills fall on me, It beats down all my cunning, I cannot bear it. My ears are fill'd with noise, my Eyes grow dim and feeble shakings seize every Limb." Dialogue: Joseph Bonaparte: "Oh Brother Nap, Brother Nap, we shant be left with half a crown apiece." Plate Mark: 233

In this satire, Napoleon's conquests are represented as dishes laid out on a table for his consumption. Seated at a large round table, Napoleon ignores the bottles of "French Spirits" and "Bordeaux" as well as various plates labeled "Swiss Cheese," "TURKEY," "Dutch Herrings," "Austrian Sour Crout," "Naples Biscuit," "Polish Goose," "Regal Plumb Cake" and "Swedish Preserves." Instead, he hungrily eyes a large mound of "English Roast Beef" in a pool of gravy displayed on a platter on the sideboard. The roast and its gravy dressing resembles the cliffs of Dover that rise above the Channel. Like the shoreline of England, the roast is heavily guarded by war ships--comically, a small figure stands at the base of a flagpole planted firmly in the roast. Here, Napoleon's ambition is characterized as unbounded appetite. Despite the number of dishes that clutter his table, the plate in front of him remains empty while his knife and fork are poised to cut into the roast. In this satire, Napoleon's conquests are represented as dishes laid out on a table for his consumption. Seated at a large round table, Napoleon ignores the bottles of "French Spirits" and "Bordeaux" as well as various plates labeled "Swiss Cheese," "TURKEY," "Dutch Herrings," "Austrian Sour Crout," "Naples Biscuit," "Polish Goose," "Regal Plumb Cake" and "Swedish Preserves." Instead, he hungrily eyes a large mound of "English Roast Beef" in a pool of gravy displayed on a platter on the sideboard. The roast and its gravy dressing resembles the cliffs of Dover that rise above the Channel. Like the shoreline of England, the roast is heavily guarded by war ships--comically, a small figure stands at the base of a flagpole planted firmly in the roast. Here, Napoleon's ambition is characterized as unbounded appetite. Despite the number of dishes that clutter his table, the plate in front of him remains empty while his knife and fork are poised to cut into the roast. Published by I Hays, Marylebone St., Piccadilly. A listing for the title of this print has not been located in either Broadley or in the British Museum catalog. 1806-05-00 Caption: Pub May 1805 by I Hays Marylebone St. Piccadilly Dialogue: Napoleon: "Where shall I begin first? Shall I have a slice of Turkey--a wing of Polish goose, or what shall I take --I must own I should like to have a relish of that ROAST BEEF on the side board, but there are so many D--'d ships sailing in the Gravy, I am afraid to attack it!" Annotation: SES, K5355 Collector's Mark: A

words by Ballard Macdonald and Joe Goodwin ; music by James F. Hanley. Fox trot for voice and piano. Caption title. Advertisement for other songs: p. [3-4] Cover illustration: photograph of W.J. Reilly; drawing of servicemen reading mail / Barbelle.

Engraved broadside table of armed forces, with headpiece caricature of political and military group, tailpiece caricature of old woman nurse with baby. Engraved broadside table of armed forces, with headpiece caricature of political and military group, tailpiece caricature of old woman nurse with baby. 'A broadside satirising British subsidies of foreign forces, particularly extravagant rates of pay for Hanoverian troops. At the top is an etching showing George II as the horse of Hanover, neighing "Worms" as he rises from a state chair lettered, "H[a]n[ove]r". His hind legs, those of a harpy, trample on papers lettered "Trade" and "Liberty" while his tail is that of a reptile. His forelegs end in hands, one holding the king's mask and the other grasping a money bag labelled "1600000" from John Carteret who addresses the horse/king, "Here's Cole" (i.e., money). Carteret scatters coins behind him to a group of eager be-wigged men who remark, "Damn Eng[lan]d", "H[a]n[ove]r Boys", "Poor No-s" and "Yes, Yes, Yes". Behind them, to the left, three men in tricorn hats are singing "Te Deum" and "Old England". To the right, Lord Wilmington, First Lord of the Treasury, and Samuel Sandys, Cofferer to the Household, stand at a table on which is a money bag lettered "160000" and a paper lettered, "13000000". Below is "A List of Foreign Soldiers in Daily Pay for England" itemising Foot and Horse regiments and the pay of Hanoverian, Hessian and Danish officers, with an "Abstract" giving the total sum paid to Hanoverians as £1035.1s.111/2d., to Hessians £343.17s.57/8d., and Danes, £342.91/2d/ At the bottom of the sheet, a nurse, sitting on a three-legged chair, is cleaning the infant Britannia, saying, "Your Besh[i]t again wares ye Clouts"; a pot of "Bonporenicole" (poor food for British soldiers, see BM Satires 2584) stands on a stool to the left, while a boar's head and a sheep hang from the back of the nurse's chair'. -- British Museum copyright. N.Y., Walter Schatzki, 1958.

Hand-colored engraving published Sep. 1, 1760; mounted uniform figure galloping toward left, smaller mounted figures advancing in background. Hand-colored engraving published Sep. 1, 1760; mounted uniform figure galloping toward left, smaller mounted figures advancing in background. Upright, matted; margins trimmed; clean. N.Y., Old Print Shop, 1948.

One of a suite of 6 original watercolors signed and dated by R. Wymer showing Guards and uniforms. One of a suite of 6 original watercolors signed and dated by R. Wymer showing Guards and uniforms. Large oblong folio, matted; no margins; clean. Title supplied by cataloger. New York, F. Thomas Heller, 1958.

Hand-colored engraving; mounted figure riding toward right with upraised sword. Hand-colored engraving; mounted figure riding toward right with upraised sword. Plate mark, margins; somewhat soiled. London, Parker Gallery, 1965.

Unsigned watercolor, evidently copied from print by Engelmann, but with variations in color; standing figure in military dress, rifle in left hand, small pouch in right hand [see corresponding print]. Unsigned watercolor, evidently copied from print by Engelmann, but with variations in color; standing figure in military dress, rifle in left hand, small pouch in right hand [see corresponding print]. Upright, matted; margins; slightly soiled. N.Y., Rockman, 1950.