One of a collection of 10 watercolors of uniforms. Figure in blue and yellow holding flag over left shoulder. One of a collection of 10 watercolors of uniforms. Figure in blue and yellow holding flag over left shoulder. Unbound; in 1/2 black leather and blue cloth case stamped gold. Presented, 1949. by Frederick Todd.

One of a collection of 10 watercolors of uniforms lettered with descriptive legends. Figure in blue and yellow facing left. One of a collection of 10 watercolors of uniforms lettered with descriptive legends. Figure in blue and yellow facing left. Unbound; in 1/2 black leather and blue cloth case stamped gold. Presented, 1949. by Frederick Todd.

One of a collection of 10 watercolors of uniforms. Figure in blue and yellow with rifle. One of a collection of 10 watercolors of uniforms. Figure in blue and yellow with rifle. Unbound; in 1/2 black leather and blue cloth case stamped gold. Presented, 1949, by Frederick Todd.

One of a collection of 10 watercolors of uniforms. Figure in blue and khaki facing right and holding rifle. One of a collection of 10 watercolors of uniforms. Figure in blue and khaki facing right and holding rifle. Unbound; in 1/2 black leather and blue cloth case stamped gold. Presented, 1949. by Frederick Todd.

One of a collection of 10 watercolors of uniforms. Figure in blue, red and yellow facing right and playing bassoon. One of a collection of 10 watercolors of uniforms. Figure in blue, red and yellow facing right and playing bassoon. Unbound; in 1/2 black leather and blue cloth case stamped gold. Presented, 1949. by Frederick Todd.

One of a collection of 10 watercolors of uniform. Figure in red, white blue and yellow playing drum. One of a collection of 10 watercolors of uniform. Figure in red, white blue and yellow playing drum. Presented, 1949 by Frederick Todd. Unbound; in 1/2 black leather and blue cloth case stamped gold.

One of a collection of 10 watercolors of uniforms. Figure in blue jacket wearing helmet and holding axe. One of a collection of 10 watercolors of uniforms. Figure in blue jacket wearing helmet and holding axe. Unbound; in 1/2 black leather and clue cloth case stamped gold. Presented, 1949, by Frederick Todd.

One of a collection of 10 watercolors of uniforms lettered with descriptive legends. Figure with rifle in blue and yellow facing right. One of a collection of 10 watercolors of uniforms lettered with descriptive legends. Figure with rifle in blue and yellow facing right. Unbound; in 1/2 black leather and blue cloth case stamped gold. Presented, 1949, by Frederick Todd.

One of a collection of 10 watercolors of uniforms. Figure in blue and yellow facing left and carrying lance over right shoulder. One of a collection of 10 watercolors of uniforms. Figure in blue and yellow facing left and carrying lance over right shoulder. Unbound; in 1/4 black leather and blue cloth case stamped gold. Presented, 1949, by Frederick Todd.

For piano. Caption title. Illustrated title page shows troops in battle; and marching through town to cheering crowds, all surmounted by eagle and flags The last page is blank.

Hand-colored engraving by and after Ritchie, 'Presented to the "Albion" Subscribers, New York, 1859'; full-length portrait in undress uniform, seated at table in tent with maps etc., tent encampment and city in distance. Hand-colored engraving by and after Ritchie, 'Presented to the "Albion" Subscribers, New York, 1859'; full-length portrait in undress uniform, seated at table in tent with maps etc., tent encampment and city in distance. Large upright folio, matted; margins; clean. London, Parker Gallery, 1956.

Original watercolor, signed and dated by Warren; battle scene showing hussars attacking French infantry, fallen officer at left foreground, hussar officer in red at center. Original watercolor, signed and dated by Warren; battle scene showing hussars attacking French infantry, fallen officer at left foreground, hussar officer in red at center. Oblong folio, matted; no margins; clean. title from verso, handwritten

by Adolphus Brown, author of Gen. Johnston's Manassas quick march. For piano. "Op. 44." Cover lith. ill. by and after J. Lion: portrait of Confederate soldier (port. of Lieut. Henry C. Tupper) "Entered according to Act of Congress in the year 1861 by A.E. Blackmar & Bro. in the cl. off. of the d.c. of the C.S. for the d. of La."--P. 2. "Wehrmann eng."--P. 5.

Color print (after Snaffles, pseudonym of Payne); Royal Artillery crew trying to pull heavy gun up slope, dismounted officer in right foreground; uncolored illustration of horse artillery team in left corner margin. Title quote from Rudyard Kipling's poem 'Screw-guns'. Color print (after Snaffles, pseudonym of Payne); Royal Artillery crew trying to pull heavy gun up slope, dismounted officer in right foreground; uncolored illustration of horse artillery team in left corner margin. Title quote from Rudyard Kipling's poem 'Screw-guns'. Large oblong folio, on white paper mount; matted; margins intact; clean. London, Parker Gallery, 1952.

Poster showing group of boys and girls walking in field; some are barefoot and two carry baskets; one older boy carries a younger one. Poster showing group of boys and girls walking in field; some are barefoot and two carry baskets; one older boy carries a younger one. F. Luis Mora. Printed in colors on white paper. Title superimposed on upper part of illustration; subtitle below illustration. "Committee on Public Information, Division of Pictorial Publicity."

John Bull, the "Head of the Family," looms over a group of figures and chastises them. Typical of Rowlandson's figures, Bull is grotesqued: he has a warty, carbuncled face, wild eyebrows and only few remaining teeth. Eight diminutive figures form a horseshoe around Bull's armless torso. They all complain of his sovereignty. Smiling, Bull chides, "All your bustle is no more than a storm in a Chamber pot." John Bull, the "Head of the Family," looms over a group of figures and chastises them. Typical of Rowlandson's figures, Bull is grotesqued: he has a warty, carbuncled face, wild eyebrows and only few remaining teeth. Eight diminutive figures form a horseshoe around Bull's armless torso. They all complain of his sovereignty. Smiling, Bull chides, "All your bustle is no more than a storm in a Chamber pot." Published by Thomas Tegg, No. 111 Cheapside. George notes that the date of publication, 15 Jan. 1809 has been erased from the plate. Caption: [Date erased] by Thomas Tegg No 111 Cheapside Dialogue: Bull: "Dont make such a riot you little noisy Brats, all your bustle to me is no more than a storm in a Chamber pot." Dialogue: Napoleon: "Ships. Colonies and Commerce." Dialogue: Russia: "Russian Vengeance attend John Bull." Dialogue: Holland: "Ill eternally smoke him." Dialogue: America: "Let him tremble at the name of America." Dialogue: Prussia: "Beware of Prussia." Dialogue: Austria: "Austria will never Pardon him." Dialogue: Spain: "Spanish Fury overtake him." Dialogue: Denmark: "Let him beware of Denmark." Printed Signature: Woodward Del. Rowlandson, Scut. Plate Mark: 131

One of a pair of color mezzotints, published 24th Novr. 1798; Nelson on deck wounded and supported by sailor or marine, battle in background, captain at left. [See also: The Reward of courage, or, Nelson triumphant]. One of a pair of color mezzotints, published 24th Novr. 1798; Nelson on deck wounded and supported by sailor or marine, battle in background, captain at left. [See also: The Reward of courage, or, Nelson triumphant]. Upright folio, matted; margins trimmed close; edges worn. N.Y., Rockman Prints, 1952.

Cover lith. ill. designed and drawn on stone by Thayer (successor to Moore) after W. Sharp, depicting battle scene with small figures of native Americans and U.S. soldiers. Cover lith. ill. designed and drawn on stone by Thayer (successor to Moore) after W. Sharp, depicting battle scene with small figures of native Americans and U.S. soldiers. Written by Thomas Power, Esq and respectfully dedicated to the Whigs of the United States. For piano and voice.

Original oil painting on zinc, signed and dated by Bostick; row of wharf buildings at foot of green hill; soldiers and vehicles on boat ramp by edge of water. Original oil painting on zinc, signed and dated by Bostick; row of wharf buildings at foot of green hill; soldiers and vehicles on boat ramp by edge of water. Bostick joined the U.S. Navy in 1942 and served as an artist and cartographer. He worked on amphibious map reproductions for the invasion of Sicily in 1943 and the D-Day invasion, 1944.

Original pen and ink and wash drawing, signed by Greenhalgh, of hangar deck with two soldiers standing outside, and several men working on a plane. Original pen and ink and wash drawing, signed by Greenhalgh, of hangar deck with two soldiers standing outside, and several men working on a plane. Published in Yank, November 19, 1943, page 4 as: "This is the hanger deck of the carrier, nicknamed Java's Garage, sketched from a catwalk below the flight deck. Mechanics work on the planes here under the direction of veteran chiefs, like the one on the right, getting news of the battle from periodic reports over the loud speaker system. During the raid on Wake, the boys in the hanger deck kept a scoreboard, cheering whenever the loudspeaker announced a destroyed Jap plane.".

Gillray situates this masterful satire at a dinner party hosted by Napoleon and Josephine. The large table is cluttered with plates bearing dishes that have been sculpted to represent British institutions. Immediately in front of Napoleon a plate bearing St. James sits next to the Bank of England, here decorated with the French tricolor. Josephine drinks a glass of Maraschino and dines on Prune Monsieur. A second plate set before her bears the head of a bishop and is labeled "Oh de Roast Beef of Old England." Gillray's choice of such a dish suggests a resemblance between Josephine and Salome and recalls an earlier caricature which features Josephine as a dancing harem girl. The guests seated at the table are so absorbed in consuming the dishes set before them and drinking wine that they do not see the right hand of Jehovah (identified by George) that appears in a group of clouds and points at the warning--"MENE MENE, TEKEL, UPHARSIN"--written on the wall of the chamber. The left hand of the vision also appears in the clouds and holds a pair of scales that weigh the crown of France against the liberty cap. The scale inscribed "Vive Le Roi" carries the weight while the scale inscribed "Despotism" is overturned and drops its contents. Among those seated at the table, Napoleon alone perceives the handwriting. In his alarm Napoleon drops his glass of wine and overturns 3 bottles with his outstretched hand. Seated at the center of the table, he is the focal point of the image. Arms flung wide, Napoleon twists around to the right and his brow furrows in dismay as he registers the vision's meaning. A golden eagle that ornaments the top of his armchair mirrors Napoleon's reaction both in the fright it registers on its face and in the physiognomic similarity with which Gillray has chosen to represent the eagle's profile. Behind Napoleon two ranks of soldiers wearing fur caps and holding blood-soaked sabers stand guard. Like Napoleon their eyes dart upwards to read the vision in the clouds while their faces turn downwards in dismay. Josephine, a grotesquely large woman, sits at her husband's left hand. She presses one hand to her breast while guzzling a cup of wine--some of which dribbles down her face. Josephine so frantically engages in consuming the food set on the table that she is unaware that she has become a spectacle for Napoleon's three sisters who stand behind her and look on with smug and simpering expressions on their faces. The sisters, Elisa, Pauline and Caroline, are all slender women whose fashionable dress in the Greek manner is here lampooned by Gillray who depicts them bare-breasted and with snaky springs of curls in their hair. A general seated at Napoleon's right opens his eyes wide and intently watches Napoleon's reaction with fright. His companion, another officer, delightedly dips his spoon into a dish labeled "Tower of London." On the far left of the table, a gentleman, identified by George as Arthur O'Connor, caresses the face of the woman sitting next to him and offers her a plate of "Pommes D' Am[our]." On the opposite side of the table, O'Connor's lecherous behavior is mirrored by a French officer who makes advances towards his dinner companion . Sheet shows some signs of staining due to glue used on the verso. Gillray situates this masterful satire at a dinner party hosted by Napoleon and Josephine. The large table is cluttered with plates bearing dishes that have been sculpted to represent British institutions. Immediately in front of Napoleon a plate bearing St. James sits next to the Bank of England, here decorated with the French tricolor. Josephine drinks a glass of Maraschino and dines on Prune Monsieur. A second plate set before her bears the head of a bishop and is labeled "Oh de Roast Beef of Old England." Gillray's choice of such a dish suggests a resemblance between Josephine and Salome and recalls an earlier caricature which features Josephine as a dancing harem girl. The guests seated at the table are so absorbed in consuming the dishes set before them and drinking wine that they do not see the right hand of Jehovah (identified by George) that appears in a group of clouds and points at the warning--"MENE MENE, TEKEL, UPHARSIN"--written on the wall of the chamber. The left hand of the vision also appears in the clouds and holds a pair of scales that weigh the crown of France against the liberty cap. The scale inscribed "Vive Le Roi" carries the weight while the scale inscribed "Despotism" is overturned and drops its contents. Among those seated at the table, Napoleon alone perceives the handwriting. In his alarm Napoleon drops his glass of wine and overturns 3 bottles with his outstretched hand. Seated at the center of the table, he is the focal point of the image. Arms flung wide, Napoleon twists around to the right and his brow furrows in dismay as he registers the vision's meaning. A golden eagle that ornaments the top of his armchair mirrors Napoleon's reaction both in the fright it registers on its face and in the physiognomic similarity with which Gillray has chosen to represent the eagle's profile. Behind Napoleon two ranks of soldiers wearing fur caps and holding blood-soaked sabers stand guard. Like Napoleon their eyes dart upwards to read the vision in the clouds while their faces turn downwards in dismay. Josephine, a grotesquely large woman, sits at her husband's left hand. She presses one hand to her breast while guzzling a cup of wine--some of which dribbles down her face. Josephine so frantically engages in consuming the food set on the table that she is unaware that she has become a spectacle for Napoleon's three sisters who stand behind her and look on with smug and simpering expressions on their faces. The sisters, Elisa, Pauline and Caroline, are all slender women whose fashionable dress in the Greek manner is here lampooned by Gillray who depicts them bare-breasted and with snaky springs of curls in their hair. A general seated at Napoleon's right opens his eyes wide and intently watches Napoleon's reaction with fright. His companion, another officer, delightedly dips his spoon into a dish labeled "Tower of London." On the far left of the table, a gentleman, identified by George as Arthur O'Connor, caresses the face of the woman sitting next to him and offers her a plate of "Pommes D' Am[our]." On the opposite side of the table, O'Connor's lecherous behavior is mirrored by a French officer who makes advances towards his dinner companion . Sheet shows some signs of staining due to glue used on the verso. Published by Js. Gillray/Humphrey? 1803-08-24 Caption: Pubd Augt 24th 1803, By Js Gillray, 27, St James's Street London Printed Signature: James Gillray invt. & ft. Collector's Mark: [a small triangle]

Poster with lithograph of a hand with wrist labelled "Strife" and fingers labelled "Excessive Taxes, Unwise Laws, Disloyalty, Agitation, Waste" threatening an industrial district shaped like a heart. A tiny bird comments, "Co-operation is what is needed most." Poster with lithograph of a hand with wrist labelled "Strife" and fingers labelled "Excessive Taxes, Unwise Laws, Disloyalty, Agitation, Waste" threatening an industrial district shaped like a heart. A tiny bird comments, "Co-operation is what is needed most." Phifer. Printed in black on white paper within double-line border. Title continues: More than 32,000 American industrial plants have been placed at the disposal of the government to win this war. Their effectiveness must not be hampered by enemy agitators who cause bad feeling between wage-earners and wage-payers. Every community is interested in promoting industrial prosperity. "Issued by the National Industrial Conservation Movement, 30 Church Street, New York City. Copies supplied on request." "F-6."

Poster urges cooperation between wage-earners and wage payers. Poster urges cooperation between wage-earners and wage payers. Printed in dark blue, red and pink on white paper. At right of title cartoon illustration signed: Phifer of hand labelled Strife with fingers labelled Excessive Taxes, Unwise Laws, Disloyalty, Agitation and Waste clutches at factories within heart-shaped outline, captioned: American industry--the heart of the nation, while little bird says, "Co-operation is what is needed most." Text explains cartoon. "F-6." "Reproduction without alteration permitted by giving usual credit. Copies supplied on request."

Part of collection of 66 original signed oil paintings on fiber board by Harry Payne for Gale & Polden postcards; standing officer at left, shown from behind, saluting mounted officer at right; small figures of soldiers and spectators in background. Part of collection of 66 original signed oil paintings on fiber board by Harry Payne for Gale & Polden postcards; standing officer at left, shown from behind, saluting mounted officer at right; small figures of soldiers and spectators in background. Folio, unbound; some edges etc. soiled or worn but images in good condition; in 2 red cloth cases, red leather labels stamped gold. London, Francis Edwards, 1966.

43rd in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); 2 figures of infantryman and officer outdoors, officer writing on pad; note on verso: "34th". 43rd in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); 2 figures of infantryman and officer outdoors, officer writing on pad; note on verso: "34th". Oblong and upright, 61 pieces; a few soiled; in folio red cloth case, red leather label stamped gold. London, Francis Edwards, 1966.

Unsigned original watercolor by McNeill; infantryman with grounded rifle, officer writing in notebook, standing near wooden railing and shrubbery. Title on verso. Unsigned original watercolor by McNeill; infantryman with grounded rifle, officer writing in notebook, standing near wooden railing and shrubbery. Title on verso. Upright; no margins; stained.

Original watercolor signed by Norie; party of 2nd Foot Guards(?) halted and resting on moor or plain, c. 1815. Original watercolor signed by Norie; party of 2nd Foot Guards(?) halted and resting on moor or plain, c. 1815. Oblong, matted; no margins; clean. Title supplied by cataloger. N.Y., Rockman Prints, 1949.

One of a collection of 5 (of ?) numbered color lithographic plates of soldier scenes printed by W. Kohler. One of a collection of 5 (of ?) numbered color lithographic plates of soldier scenes printed by W. Kohler. Upright folio, matted; margins intact; soiled. N.Y., Rockman, 1949.

Unsigned original watercolor sketch; Indian artillerymen and infantry standing near wall and shed. Unsigned original watercolor sketch; Indian artillerymen and infantry standing near wall and shed. Oblong medium folio, matted; no margins; soiled. Title supplied by cataloger. N.Y., Soldier Shop, 1968.

inscribed to Commodore Foote by Lelia. For piano. Cover lith. ill.: portrait of Foote with a river and gunboats in the background ; the scene is labeled Fort Henry, Fort Donelson, Island no. 10 / Lith. of Sarony, Major & Knapp.