5th in suite of 12 original unsigned ink and watercolor sketches, by Bradford, of uniform figures and groups; back view of mounted dragoon in green jacket, white trousers, holding upright sword. 5th in suite of 12 original unsigned ink and watercolor sketches, by Bradford, of uniform figures and groups; back view of mounted dragoon in green jacket, white trousers, holding upright sword. Small upright folio, matted; margins; clean; mounted in folio album of red marble boards, 1/4 red morocco back st. gold. London, Parker, 1964.

Color lithograph; humorous scene of woman in voluminous hoopskirt asking grenadier sentry for permission to pass through gate. Color lithograph; humorous scene of woman in voluminous hoopskirt asking grenadier sentry for permission to pass through gate. Oblong folio, matted; margins trimmed; edges worn. London, Parker Gallery, 1965.

Hand-colored engraved caricature. 'Dumouriez runs forward (right to left), holding out his sword in his left hand, a paper in his right inscribed 'Je Crains Citoyens de vous enuier par le recit de mes Victoires Dumourier'. He sheds tears and vomits a stream of church plate, coins, and fortresses inscribed, respectively, 'Anvers', 'Bruxelles', 'Louvain'. He urinates a stream in which are three other fortresses: 'Klundert', 'Breda', 'Gertruidenberg'. Two stout Dutchmen on the extreme right, standing on a fortification, urinate over the heads of intermediate soldiers on to Dumouriez' large cocked hat, from which two streams fall to the ground. An Austrian officer with a drawn sabre (probably Coburg) rides after Dumouriez, behind him advance grinning and mustachioed Austrian infantry with muskets, saying: "ah Ca ira Ca ira". In the foreground, behind Dumouriez, is an officer holding a large syringe inscribed 'la [ ?] seringue De Clerfait'; he grins exultantly. On the extreme right are a cannon and a pyramid of cannon-balls inscribed 'Pilulles Purgatives pour les Salsaottes [ ? Sansculottes] francais'. In the foreground in front of Dumouriez lies a woman, stabbed to the heart, holding the (broken) staff and cap of Liberty. She is 'la vraie Liberie Morte'. In the distance (left) are fleeing soldiers. Beneath the design: 'Evacuation of holland and Brabant or Evacuation de la hollande et du Brabant.' -- British Museum Hand-colored engraved caricature. 'Dumouriez runs forward (right to left), holding out his sword in his left hand, a paper in his right inscribed 'Je Crains Citoyens de vous enuier par le recit de mes Victoires Dumourier'. He sheds tears and vomits a stream of church plate, coins, and fortresses inscribed, respectively, 'Anvers', 'Bruxelles', 'Louvain'. He urinates a stream in which are three other fortresses: 'Klundert', 'Breda', 'Gertruidenberg'. Two stout Dutchmen on the extreme right, standing on a fortification, urinate over the heads of intermediate soldiers on to Dumouriez' large cocked hat, from which two streams fall to the ground. An Austrian officer with a drawn sabre (probably Coburg) rides after Dumouriez, behind him advance grinning and mustachioed Austrian infantry with muskets, saying: "ah Ca ira Ca ira". In the foreground, behind Dumouriez, is an officer holding a large syringe inscribed 'la [ ?] seringue De Clerfait'; he grins exultantly. On the extreme right are a cannon and a pyramid of cannon-balls inscribed 'Pilulles Purgatives pour les Salsaottes [ ? Sansculottes] francais'. In the foreground in front of Dumouriez lies a woman, stabbed to the heart, holding the (broken) staff and cap of Liberty. She is 'la vraie Liberie Morte'. In the distance (left) are fleeing soldiers. Beneath the design: 'Evacuation of holland and Brabant or Evacuation de la hollande et du Brabant.' -- British Museum Oblong medium folio; margins trimmed. New York, Walter Schatzki, 1964. Caption: Anvers, Bruxelles, Louvain Caption: Pub. April 11, 1793 by S. W. Fores No. 3 Piccadilly where may be seen a modle [sic] of this guillotine 6 feet high also the head and hand of a Count ... admittance one shilling

Original ink and water-colour drawing signed by Wingfield; trooper walking in countryside, smoking pipe, bundle slung over shoulder on sabre. Original ink and water-colour drawing signed by Wingfield; trooper walking in countryside, smoking pipe, bundle slung over shoulder on sabre. Upright, matted; margins; clean. New York, Rockman Prints, 1949.

A tank is engulfed with smoke, which billows to the right. Some small bushes and rocks are seen in the foreground. A tank is engulfed with smoke, which billows to the right. Some small bushes and rocks are seen in the foreground. Title from typed label affixed to verso. Censor's stamp. 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.

Hand-colored etched caricature, published Decr. 27th, 1798; 'Francis II sits full-face between a French officer (left) and Pitt, who stand proffering bounties. He looks at neither, but takes a pinch from the snuff-box 'Presented by the Directory', while his left hand is extended greedily towards the money-bags which Pitt offers. The Frenchman, a grotesque officer wearing a large cocked hat, enormous sabre, jack-boots with tattered breeches, says: "Listen to our proposals Mounseer, Peace shall be at your Command and our Troops shall be With-drawn." Pitt holds a bag (inscribed '100-000') in each hand, and another (labelled more if required) under each arm. He says: "Pray do not be blind to your own Interest - Consider the Delivery of Europe - let us once more rank you with the number of the Glorious Allies". Francis, who wears military dress, repeats four lines of the song from "The Beggar's Opera: How Happy could I be with either, Where the other dear Charmer away, But while you thus teaze me together To neither a word will I say But Tol-lol-lol-lol-loldera &c." -- British Museum Hand-colored etched caricature, published Decr. 27th, 1798; 'Francis II sits full-face between a French officer (left) and Pitt, who stand proffering bounties. He looks at neither, but takes a pinch from the snuff-box 'Presented by the Directory', while his left hand is extended greedily towards the money-bags which Pitt offers. The Frenchman, a grotesque officer wearing a large cocked hat, enormous sabre, jack-boots with tattered breeches, says: "Listen to our proposals Mounseer, Peace shall be at your Command and our Troops shall be With-drawn." Pitt holds a bag (inscribed '100-000') in each hand, and another (labelled more if required) under each arm. He says: "Pray do not be blind to your own Interest - Consider the Delivery of Europe - let us once more rank you with the number of the Glorious Allies". Francis, who wears military dress, repeats four lines of the song from "The Beggar's Opera: How Happy could I be with either, Where the other dear Charmer away, But while you thus teaze me together To neither a word will I say But Tol-lol-lol-lol-loldera &c." -- British Museum Small oblong folio; margins severely trimmed; clean.

Originally published by Witham in 1648 showing a map of Colchester under siege surrounded by various encampments, fortifications and troops. Engraved title, inscriptions, lettering A-Z, and legend. Letterpress title and text in five columns, including an account of the siege. Originally published by Witham in 1648 showing a map of Colchester under siege surrounded by various encampments, fortifications and troops. Engraved title, inscriptions, lettering A-Z, and legend. Letterpress title and text in five columns, including an account of the siege. Large oblong folio; stained

Sepia photogravure by Goupil & Cie., after Neuville; captured French soldier being searched by Prussians, mounted officer looking on. Sepia photogravure by Goupil & Cie., after Neuville; captured French soldier being searched by Prussians, mounted officer looking on. In light blue cloth portfolio, red leather label st. gold "Military paintings. Paris, Salon 1879-80". N.Y., Argosy, 1952.

Hand-colored etching by John Sturt after Robert Streeter; bird's-eye panorama view of battle formations in the field, supply camp, town in foreground, oval bust portrait of King in armor at upper right. Hand-colored etching by John Sturt after Robert Streeter; bird's-eye panorama view of battle formations in the field, supply camp, town in foreground, oval bust portrait of King in armor at upper right. Large oblong folio, matted; margins severely trimmed; creased. London, Parker Gallery, 1952.

Hand colored stipple engraving published March 1, 1803; cavalry uniform figure with lance on rearing horse facing left. Hand colored stipple engraving published March 1, 1803; cavalry uniform figure with lance on rearing horse facing left. Small oblong folio, matted; plate mark, margins trimmed; slightly soiled. From 'Travels in Turkey, Asia-Minor, Syria, and Across the Desert Into Egypt During the Years 1799, 1800, and 1801 in Company with the Turkish Army, and the British Military Mission' by William Wittman, M.D. (London, Richard Phillips, 1803). New York, Rockman Prints, 1949.

Hand-colored etched caricature, numbered 121, published 1 December 1807; 2 sailors carrying sedan-chair with a young prostitute inside, a third sitting on top, to the right is the portico of St. Paul's, Covent Garden, with two men, one a Jew, the other a (?) tipsy parson . Hand-colored etched caricature, numbered 121, published 1 December 1807; 2 sailors carrying sedan-chair with a young prostitute inside, a third sitting on top, to the right is the portico of St. Paul's, Covent Garden, with two men, one a Jew, the other a (?) tipsy parson . Oblong medium folio, matted; plate mark, margins trimmed; clean. London, Parker Gallery, 1950.

Etching and stipple engraving (2nd state) by and after Scacki; 'Print shows British troops advancing across open ground toward the American troops behind earthworks in the background during the Battle of New Orleans; at center foreground, mortally wounded British General Edward Pakenham is held by his officers. Includes cameo portrait of Andrew Jackson. Impression on verso includes a key identifying prominent features, as well as additional casualties among the British' -- Library of Congress Etching and stipple engraving (2nd state) by and after Scacki; 'Print shows British troops advancing across open ground toward the American troops behind earthworks in the background during the Battle of New Orleans; at center foreground, mortally wounded British General Edward Pakenham is held by his officers. Includes cameo portrait of Andrew Jackson. Impression on verso includes a key identifying prominent features, as well as additional casualties among the British' -- Library of Congress Oblong folio, matted; margins; torn and inexpertly mended. New York, Harry H. Hymes, 1946.

One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). One mounted soldier with sword, charging. One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). One mounted soldier with sword, charging. Folio, unbound; in red cloth case, red leather label stamped gold "C. H. Smith. Costume of the British Army. Original Drawings"; soiled, worn. Bedford, Peter Young, 1950.

5th in collection of 9 chromolithographic plates after Payne, some dated 1892 by artist; full-length uniform figure of cavalry officer, wearing helmet and cuirass, holding sword. 5th in collection of 9 chromolithographic plates after Payne, some dated 1892 by artist; full-length uniform figure of cavalry officer, wearing helmet and cuirass, holding sword. Large upright folio, unbound; in red cloth portfolio, maroon cloth label stamped gold; clean. London, Parker Gallery, 1953.

Unsigned pencil drawing by or after James Forbes for a plate in Illustrations to 'Oriental Memoirs'; native chief in tall turban, long kaftan and skirt, with scimitar and shield, dagger in sash. Unsigned pencil drawing by or after James Forbes for a plate in Illustrations to 'Oriental Memoirs'; native chief in tall turban, long kaftan and skirt, with scimitar and shield, dagger in sash. Small upright folio, matted; margins; soiled. New York, Rockman Prints, 1949.

Hand-colored engraved caricature by and after Gillray, published June 18th, 1792; George III holding candle and examining miniature of Cromwell by Samuel Cooper. Hand-colored engraved caricature by and after Gillray, published June 18th, 1792; George III holding candle and examining miniature of Cromwell by Samuel Cooper. Small upright folio; margins; stains in margins. N.Y., Walter Schatzki, 1958.

One of a suite of 11 original unsigned watercolors, evidently by a native artist. Figure in black and red holding rifle. One of a suite of 11 original unsigned watercolors, evidently by a native artist. Figure in black and red holding rifle. 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.

From a set of 8 watercolors showing uniforms of the Royal Waggon Train and Royal Army Service Corps.

Original rather primitive unsigned watercolor; standing uniform figure with gun, coconut tree at left, harbor and fort (Fort George, Barbados) etc. in right background, packet ships, merchant ships, commissariat stores, signal post, various trees identified (cocoa, strawberry palm, cotton) etc. Note: The 70th Regiment were stationed on Barbados from January 1838 until June 1841. Original rather primitive unsigned watercolor; standing uniform figure with gun, coconut tree at left, harbor and fort (Fort George, Barbados) etc. in right background, packet ships, merchant ships, commissariat stores, signal post, various trees identified (cocoa, strawberry palm, cotton) etc. Note: The 70th Regiment were stationed on Barbados from January 1838 until June 1841. Upright medium folio, matted; margins; creased. Title supplied by cataloger. London, Parker Gallery, 1967.

In this brightly colored satire, a game cock (l.) with the head of Napoleon eyes a large bull bearing the features of John Bull (r.). A large black bird is perched on Bull's back. Each animal occupies plateaus of grassy land separated by a body of water, presumably the Channel. In this brightly colored satire, a game cock (l.) with the head of Napoleon eyes a large bull bearing the features of John Bull (r.). A large black bird is perched on Bull's back. Each animal occupies plateaus of grassy land separated by a body of water, presumably the Channel. Published by Roberts. The sheet in the Hay was published by Tegg after it had been originally published by Roberts from a design by Woodward. This is evidenced by Tegg's clumsy removal of the original signature. Broadley dates the original sheet vaguely to 'Autumn, 1803.' George suggests July 1803 as a date. Caption: Pubd. by T. Tegg 111 Cheapside Jan 1 Caption: Pubd. July 24 1815 by J. Johnston Cheapside Dialogue: The Cock: "Cock adoodle doo. I shall soon come over to you. I'll Fight true game and crow my Fame and make you all look Blue." Dialogue: The Bull: "You impertinent Cock. I'll have you know on this side the Brook you never shall Crow and if you are not Quick and give up your Jaw I'll teach you the nature of English Club law." Annotation: 282

One of a suite of 11 original unsigned watercolors, evidently by a native artist. Figure in blue and white holding paper in right hand. One of a suite of 11 original unsigned watercolors, evidently by a native artist. Figure in blue and white holding paper in right hand. 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 page; wood engraved illustration in text of soldier in uniform mounted on inflated pig-skin in water. One page; wood engraved illustration in text of soldier in uniform mounted on inflated pig-skin in water. From Gleason's Pictorial, Vol. III, No. 25, December 18, 1852, page 400. New York, Milton L. Bernstein, 1949.

One of a pair of hand-colored engravings (colored later?) afte Alexander, from Atlas to Staunton's "An Authentic account of an Embassy ... to the Emperor of China," No. 17, engraved by J. Pass; row of soldiers with standard near look-out tower, other soldiers practicing swordmanship at left. On the river Euho. See also: Chinese military drawn out in Compliment to the British Embassador. One of a pair of hand-colored engravings (colored later?) afte Alexander, from Atlas to Staunton's "An Authentic account of an Embassy ... to the Emperor of China," No. 17, engraved by J. Pass; row of soldiers with standard near look-out tower, other soldiers practicing swordmanship at left. On the river Euho. See also: Chinese military drawn out in Compliment to the British Embassador. Oblong medium folio, matted; plate marks, margins trimmed; clean. Color plate from auction catalog. N.Y., Rockman Prints, 1948.

Color aquatint by and after Thomas and Willian Daniell, piblished Sepr. 1, 1810; officer with shield, bow and spear standing in foreground, temples or forts and mountains in background. The original caption reads: 'The conspicuous personage encumbered with military accoutrements is an officer of exalted rank. Over the usual dress is his uniform, consisting of an embroidered silk robe. In a case suspended to his side he carries the bow, which is made of wood, covered with horn; and on the other side his quiver with arrows. The flags on his shoulders are of silk, and their number announces the dignity of the wearer. From the crown of his helmet, which is of iron, issues a small spear, sheathed in a lock of horse-hair. The same ornament is appended to the head of the pike, and is always deemed a mark of consideration: the bow-string is of silk: the arrows are pointed with steel. The scene of this view is a city gate, a station usually attended by a guard of soldiers'. Plate 40 from: 'A Picturesque Voyage to India by Way of China' (London, Longman, Hurst, Rees, and Orme, 1810). Color aquatint by and after Thomas and Willian Daniell, piblished Sepr. 1, 1810; officer with shield, bow and spear standing in foreground, temples or forts and mountains in background. The original caption reads: 'The conspicuous personage encumbered with military accoutrements is an officer of exalted rank. Over the usual dress is his uniform, consisting of an embroidered silk robe. In a case suspended to his side he carries the bow, which is made of wood, covered with horn; and on the other side his quiver with arrows. The flags on his shoulders are of silk, and their number announces the dignity of the wearer. From the crown of his helmet, which is of iron, issues a small spear, sheathed in a lock of horse-hair. The same ornament is appended to the head of the pike, and is always deemed a mark of consideration: the bow-string is of silk: the arrows are pointed with steel. The scene of this view is a city gate, a station usually attended by a guard of soldiers'. Plate 40 from: 'A Picturesque Voyage to India by Way of China' (London, Longman, Hurst, Rees, and Orme, 1810). Small oblong folio; plate mark, margins intact; slightly soiled. London, Spencer, 1955.

Original unsigned watercolor (by Holland?); bust portrait of unidentified pensioner in large cocked hat and greatcoat with medal. Original unsigned watercolor (by Holland?); bust portrait of unidentified pensioner in large cocked hat and greatcoat with medal. Small upright, matted; no margins; clean. Title supplied by cataloger. London, Ifan Kyrle Fletcher, 1952.

Small in stature and further dwarfed by his large hat, Napoleon, (l.) approaches the Duchess of Würtemberg, (r.), and her lady in waiting. Whereas the plumes and trim on Napoleon's hat--as well as the sword that trails from his belt--make him look ridiculous, the Duchess is tall in stature and elegantly dressed. Small in stature and further dwarfed by his large hat, Napoleon, (l.) approaches the Duchess of Würtemberg, (r.), and her lady in waiting. Whereas the plumes and trim on Napoleon's hat--as well as the sword that trails from his belt--make him look ridiculous, the Duchess is tall in stature and elegantly dressed. Whereas Broadley does not attribute this caricature to any artist, George suggests that it may have been made by Williams (pseudonym Ansell). 1805-11-20 Caption: Pubd Novr 20th 1805 by S W Fores. 50 Piccadilly Dialogue: Napoleon: "Consider Madam, my great Exhaltation, and as the Army led to it, --you will excuse a soldier for visiting you in Boots." Duchess of Würtemberg: "Certainly Sir--and as you make such rapid advances--I hope soon to see you Exalted in them." Inscription: Folios of Caracatures lent out for the Evening. Annotation: 7 50/ (?) Collector's Mark: A Stamp(s): S.W.F.

Humorous color lithograph plate by and after Sly, being 'No. 2 of R. Evan Sly's New & Amusing Mechanical Prints'; infantryman figure with aperture through which can be shown any of 26 changeable comic faces, smaller figures drilling outdoors in background. Humorous color lithograph plate by and after Sly, being 'No. 2 of R. Evan Sly's New & Amusing Mechanical Prints'; infantryman figure with aperture through which can be shown any of 26 changeable comic faces, smaller figures drilling outdoors in background. Small upright folio, matted; margins trimmed; slightly soiled and worn. N.Y., Rockman Prints, 1949.

Hand-colored etched caricature (by and after Heath); George IV, seated at right, handing wig to Duke of Wellington at left. Hand-colored etched caricature (by and after Heath); George IV, seated at right, handing wig to Duke of Wellington at left. Oblong medium folio; plate mark, margins intact; clean. N.Y., Walter Schatzki, 1968.

Color lithograph after Remington; mounted officer in campaign dress galloping toward right. Color lithograph after Remington; mounted officer in campaign dress galloping toward right. Upright folio, matted; margins; clean. N.Y., Kennedy, 1962.

Original lithographic print by Shepperson; two beds under opening of large tent, doctor and nurse bending over bed on right, caring for wounded soldier. Original lithographic print by Shepperson; two beds under opening of large tent, doctor and nurse bending over bed on right, caring for wounded soldier. Oblong folio; margins; clean. London, David Cohen Fine Art, 2010