| Sale: | Private Collection Thursday March 18th at 6:00 p.m. IMPORTANT AUCTION OF HISTORIC ARMS, MILITARIA, AMERICANA AND ARTWORK FROM THE PRIVATE COLLECTION OF JAMES L, KOCHAN The Lukens-Lenox Papers, c. 1740-c. 1870 |
 50 Potter Light Dragoon Saber Length: 39 ¼ in. Blade: 32 ½ x 1 3/8 in. Weight: 2.6 lbs. This pattern of light dragoon saber is the most famous, and collectible, of all Revolutionary War enlisted swords. Copied from British light horse examples, it was produced in the Maiden Lane workshops of New York cutler James Potter and is the only maker-marked, American-made saber of standard pattern with indisputable, documented usage during the War for Independence. Collectors generally consider these to have been produced for the Continental light dragoons, although recently-discovered manuscripts prove otherwise. In fact, the swords were principally manufactured under contract with Loyalist Alexander Innes, the Inspector General of Provincial (American) forces in British service and were used to arm such famous commands as Tarleton’s British Legion and the Queen’s Rangers. However, “liberated” (and possibly smuggled) Potter sabers did find their way into Patriot hands and an officer in “Light Horse Harry” Lee’s Legion claimed that every legion trooper “was armed with a Potter’s sword, the weapon most highly estimated for service, taken in personal conflict from the enemy.” This fine example features a nice blade with deep ‘POTTER’ mark and its original twisted wire binding around the grip--although only about a quarter of the original leather wrap survives (N.B. Potter grips were originally japanned black and the application so stiffened the thin leather wraps over time, that most have flaked off--leaving earlier writers to claim that the swords had unwrapped, wooden grips). $12,000/14,000 Provenance: Donald Euing Collection Literature: James L. Kochan, “New Light on Potter Sabers and other Revolutionary War Cavalry Arms” (manuscript scheduled for publication in 2004); | ||
 51 British “Pattern 1756” Light Dragoon Saber Length: 44 7/8 in. Blade: 36 7/8 x 1 3/8 in. Weight: 2.8 lbs. Light dragoons regiments were first established in the British Army in 1756, when a troop was authorized to be raised in each dragoon regiment. These light horseman were to be armed with “a straight cutting sword, 34 in. in the blade, with a light hilt, without a basket.” By the Revolutionary War, the blades had lengthened and there was much variation of pattern of hilt, although Hinde (1778) describes the typical saber as “about 37 inches long in the blade, either crooked or straight according to the regulations of the Regiment.” From period iconography of light dragoons from c.1759-1778, it can be established that this example was one of the more popular patterns, with a heavy, iron-mounted, slotted D-guard, pronounced ovoid pommel, and nearly-straight, hatchet-point blade. This example is identical to one in the Smithsonian collection; both faces of the blade are marked with a large crown/GR and ‘IEF/RIS’ (Jefferys, a noted cutler). The hilt is good-sized, with a long, shagreen-wrapped, wooden grip capable of accommodating a hand with heavy, leather gauntlet. This suggests an earlier period of manufacture, as later examples from the 1770s are reduced in size. $4500/5000 Provenance: Warren Moore Collection | ||
 52 British Officer’s Dragoon Saber, c. 1775 Length: 43 in. Blade: 36 ¼ x 1 5/16 in. Weight: 1.8 lbs. Prior to the Revolutionary War, the large and heavy D-guard hilt of first established in c. 1756 was falling from favor and the re-hilting of blades to lighter and more fashionable forms began to be adopted by many of the light dragoons regiments. The 15th Light Dragoons rehilted their swords with open, cross-guard hilts in 1773. Some regiments opted for lighter, smaller versions of the slotted D-hilt, such as in this example, while others selected the stirrup-hilt. This iron-mounted saber has a long, “crooked” blade with narrow and wide fullers. Its grip is of an unusual, hump-backed form that allows for exceptional balance and handling of the blade. The hilt is plain the sword is virtually devoid of ornamentation, with the exception of a silver ribbon set in the spiral grooves of the shagreen grip, suggesting use by either commissioned or non-commissioned officer. $3000/4000 Provenance: Warren Moore Collection | ||
 53 British Stirrup-Hilt Light Dragoon Saber, c. 1778 Length: 41 in . Blade: 36 x 1 15/16 in. Weight: 1.8 lbs. The popularity of the eastern European hussar stirrup-hilt saber had already been long in use among Prussian and French light cavalry and it rapidly gained approval in British circles. By at least 1778, the 16th or Queen’s Light Dragoons had rehilted their blades with stirrup-hilts and the same form can be observed in the 1782 portraits of Sir John Burgoyne (22nd Light Dragoons) and Banastre Tarleton (British Legion). This c. 1778-84 saber has a slightly-curved blade” of 9/16 in. curvature with clipped point. A large crown/GR cypher is engraved on the obverse face of the flat blade, while on the recto can be found the royal coat of arms and the maker’s mark, ‘HARVEY’ (the latter found at the ricasso). The same hilt-blade arrangement has been described and illustrated by Ffoulkes (1933) and Neumann (1973), among others. It could have originally produced in this form or is possibly a period rehilting, as this same Harvey-made blade has been observed on slotted, D-guard sabers of c. 1770-78 form. The iron-mounted, stirrup-hilt has long, full langets and a channeled, ebony grip. $3400/4000 Provenance: Peter Dale, Ltd. |
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 54 Revolutionary War American Light Dragoon Saber Length: 42 3/8 in. Blade: 36 x 1 3/8 in. Weight: 2 lbs. At least four examples of this pattern are known, all with Mid-Atlantic provenance. One, retaining its original leather with simple iron fittings, was sold when the contents of the Perry Museum of Charles Town, West Virginia was dispersed some years ago (collected in the early 20th century in the upper Shenandoah Valley, it is one of two with direct Virginia association). This pattern is a simplified approximation of the British D-guard light dragoon saber and Neumann (1973) notes the “deep dome-shaped cap pommel” to which the knuckle-bow is inset. It has a slotted guard made of thin sheet iron; this exact form has also been observed on the American- rehilted “Dragoon of Virginia” saber formerly in the collections of Harold Peterson and Richard A. Johnson, as well as a Potter-bladed example in the Nettolo collection. The ribbed, wooden grip is covered with thin, black-japanned leather and all examples have the same long, curved blade with narrow and wide fullers. $3500/4000 | ||
 55 American Horseman’s Broadsword Length: 42 5/8 in. Blade: 36 ½ x 1 ½ in. Weight: 1.8 lbs. A composite pattern, but almost certainly of wartime or immediate post-war vintage, employing one of the Latin-inscribed (Me Saques Sin Raison/No Me Enbaines Sin Honor [Do not draw me without reason/Do not sheath me without honor]), Spanish-made broadsword blades commonly imported to the colonies. The slotted D-guard with side branch could be an American copy of-, or actually from, a British dragoon sword. However, the wooden grip has twisted brass wire set into the apex or ridge of the channeled grip--a practice only observed on American-made swords, usually of New England origin. $1200/1500 Provenance: Charles Czap Collection; sold Butterfields, 8 Nov. 2001, lot 5883. | ||
 56 Pair of American Horse-Pistol Holsters with Strap, 1775-1800 Holsters: 31 x 8 ½ in.; “Girth” Strap: 79 x 2 in. A fine and complete pair of early American horseman’s pistol holsters, complete with their bearskin-covered tops and the linen webbing/leather” girth” strap for attaching it around the horse. The holsters are in remarkably fine condition considering their age, with leather still relatively supple, although the fur on the linen-lined, bearskin “caps” of the holsters has long-since fallen away. The linen webbing of the strap is wove in an interesting pattern often seen on Revolutionary War era cartridge straps and the closed by leather strap ends, the buckle-end provided with a hand-forged harness buckles furnished with a roller. Contrary to collector-lore which claims that roller-buckles are mid-19th century, roller-buckles have been employed since as least the 16th century, especially for horse accoutrements and armor strapping. Expensive when hand-made, as in this example, they are generally found only with “officer-quality” furnishings on most American accoutrements until the 1830-40s. However, by 1796 the use of roller buckles had already been standardized for the enlisted accouterments and horse equipage of the British cavalry. $1600/2000 Provenance: found in eastern Pennsylvania by Jacqueline T. Eubanks; acquired 2001. | ||
 57 Branding of American Cavalry Horses: Oliver Wolcott, ADS, 23 NOV 1780, 3 5/8 x 7 7/8 in. Namesake of the signer from Connecticut, the younger Wolcott had served in the campaigns of 1777 and 1779 as a volunteer. Declining a military commission in the Continental Army, he accepted instead an appointment in the Quartermaster General’s department and in such capacity, signed this receipt for sale “at Public Vendue held at Goshen Novemr. 23d. 1780...one red horse, a blaze in his forehead, four white feet, fourteen hands & half high, mark’d U.S.C.” [United States Cavalry?]. After the war, he became Secretary of the Treasury (1795-1800) and was governor of Connecticut (1817-27). This is one of a handful of known manuscripts documenting the specific brands applied to public horses. 150/200 |
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 58 British Officer’s Basket-Hilted Cavalry Sword English manufacture, c. 1760-1780 Overall length: 41 3/8 in. Blade: 34 5/8 x 1 1/8 in. Weight: 1.8 lbs. This half-basket-hilt of steel with original leather liner as used in elite British corps such as the Horse Guards and the 1st Dragoons. The dished, oval counter-guard is composed of a pierced, double-shell of diverging rays, linked to the knuckle-guard by a half-basket composed of three scrolled branches (decorated with faceted, close-set moldings)--each linked to the other by a small C-shaped bar. Its outside branch was also once linked to the faced, globular-shaped pommel by a similar bar, but seems to have been purposely removed during the period (probably as it interfered with the play of the hand). Still intact is the guard’s original, leather liner and the grip is bound with double-ropes of wire. The straight, single-edged blade has a wide fuller and is etched with tendrils on each side of the forte. An original, full-length portrait engraving of Captain Ainslie of the 2d Horse Troop wearing such a sword accompanies the weapon, as well as a copy of the Arms and Armor Society Journal discussing similar swords in the collections of Windsor Castle. $3400/4500 | ||
 59 After Sir Joshua Reynolds Henry, Earl of Pembroke & Montgomery Mezzotint by Thomas Dixon, pub. 5 Feb. 1771 by William Wynne Ryland, Cornhill; 18 x 13 in.* Pembroke, then a major general, was colonel-commandant of the 1st or Royal Dragoons and is shown in the uniform of that elite regiment. His right hand rests on the hilt of his basket-hilt, dragoon sword, which is identical in form to the original discussed above. Considered one of the premier cavalry officers of the British Army, Pembroke was the author of a seminal work on the care and training of horses for war, Military Equitation, that was reprinted at least three times during the 18th century. $250/350 | ||
 60 British Mounted Officer’s or Grenadier’s Saber Length: 35 ½ in. Blade: 30 x 1 1/8 in. Weight: 1.4 lbs. Often described by collectors as a dragoon officer’s sword, this form of saber is more likely to that employed by the officer of an foot corps when on mounted duty or possibly by a grenadier officer or sergeant--the blade length precluding standard use by most foot troops, yet the hilt form and light blade rendering an improbably form for cavalry. The iron-mounted hilt, with shagreen grip and open, bilobate guard with side-branches, is a form observed on numerous portraits of British infantry officers (especially those belonging to flank companies) of the period 1770-1785. On the inside of the guard near the grip is stamped: GROV[E--the latter letter obscured by the mount], a maker not yet identified, but this mark has also been observed on a short saber of c. 1780. $1400/1600 | ||
 61 French Cavalry Epee a Pied with Hilt l’Angloise, c. 1770-80 Length: 38 5/8 in. Blade: 32 ¼ x 1 in. Weight: 1 lb. When acquired at auction a few years ago after some heated bidding, it was presumed by this writer and his competitor (an expert English sword dealer) that this was a British-made weapon. The hilt is typically British in form, “half-basket” with ‘S’ scroll side-branches and silver ribbon/wire wrapped grip, yet the blade was a bit of a conundrum. Neither of us had ever observed a triangular blade (that normally associated with smallswords) on such a hilt and in addition, the medial edge was off-set toward the upper edge in profile, all three faces of the blade remaining convex. However, such blades are found on some patterns of French officer’s swords of the period 1750-80. Fortunately, Michel Petard’s new work on French arms has conclusively established this sword to be an cavalry officer sword for foot service, and identical blades are found on examples carried by royal household troops, such as the Gardes-de-Corps. The English-style hilt was used by elite corps such as the Gendarmerie and the 2d Horse Grenadiers Guards d’Angleterre and it is likely that this sword is an epee a Pied of the latter. $1800/2200 Literature: Michel Petard. Des Sabres det des Epees. I. (Nantes: 1999), 70-71, 82-85, 96-98, 106-107. |
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 62 John Raphael Smith, RA (1752-1812) (2) The Soldier’s Farewell on the Eve of a Battle Oil on wood panel, 15 x 12 in., inside original carved and gilded frame Smith was born in Derby, the son of Thomas Smith, a landscape painter known as “Smith of Derby”. At sixteen, he was in London, where he tried his hand at engraving and discovered his metier, mezzotinting. Turner and Girtin were once employed by him and Peter De Wint and James and William Ward are among his students. Nearly 400 mezzotints by Smith are recorded, most being of the highest quality from paintings by Reynolds, Romney, Morland and other well-known painters. Smith exhibited regularly in oil, crayon and mezzotint, contributing regularly at the Royal Academy from 1779-1805. This fine work was exhibited there in 1787 and Smith engraved and published a fine mezzotint from it on 12 May 1788 (a framed print from this edition accompanies the painting), which enjoyed great popularity and was reissued in later editions, both authorized and unauthorized, on both sides of the Atlantic. The painting shows a British cavalry trooper saying farewell to his sweetheart before departing for battle or active service, perhaps in America. He wears the bearskin-crested helmet and short, round jacket first adapted by the British light dragoons during the Revolutionary War. In the background can be seen a dismounted dragoon on guard post, with a trumpeter is reversed color, relaxing before his tent. Various conversation-piece paintings and prints were produced shortly after the end of the war by British artists, including Bunbury, Morland, Smith and Wheatley--most depicting sentimental departure or return scenes such as in this famous example. $10,0000/12,000 Exhibited: The Royal Academy of Arts, 1787 (cat. no. 15) Literature: Algernon Graves. The Royal Academy of Arts, VII (London: 1906), 185. | ||
 63 A Mascot’s Uniform of an Irish Light Dragoon Unit With the entry of the French into the war in 1778, invasion of the British Isles--especially Ireland, with a Catholic majority that included many wishing to reestablish the island’s independence from England--seemed a likely occurrence. With many of the regular regiments that once garrisoned Ireland now serving in America, patriotic-minded Irishmen began raising volunteer corps to fill the void for home defense. In an island famous for its horses and horseman, it is not too surprising that a good number of volunteer cavalry units were raised. More often than not, their uniforms, arms, and drill were modeled on those of the regular army, as can be seen in this rare example of a Revolutionary War period uniform from a yet-unidentified Irish corps. In this case, it is a superfine scarlet coat, lined with white silk and faced with blue half-lapels and cuffs. With the exception of the short standing collar (then coming into fashion) of pale yellow, its cut and trimming is taken completely from the 1768 royal warrant governing light dragoon dress--even down to the epaulettes and button-holes (of narrow, silver lace)--placed chevron-fashion on cuffs and skirts. Its silver buttons are engraved with a Georgian crown/Irish harp device, reflecting Irish allegiance to George III. This small coat was clearly made for a unit mascot, typically the young son or brother of one of the officers, and mimics the uniform worn by his elders. Such a practice had gained widespread adoption by the late 18th century throughout the European military and could be found even in America (for example, the famous portrait of young Raphaelle Peale in his MacPherson’s Blues uniform, c. 1794). $5000/8000 | ||
 64 After Richard Livesay The Right Honble. the Earl of Charlemont Mezzotint, engraved and published by J. Dean, London and Cornelius Callaghan, Dublin, 20 Dec. 1785; 25 x 15 in.* Charlemont was commander-in-chief in Ireland during the war and, to show his support for the Volunteer movement, allowed the Ulster Volunteers to name him as their colonel-commandant. He is shown seated at a table, with documents relating to the Ulster Volunteers strewn before him and their encampment in the background. $350/500 | ||
 65 John Collet An Officer in the Light Infantry, driven by his Lady to Cox-Heath Mezzotint, printed by Carrington Bowles, London, 9 Nov. 1778; 14 x 10 in. (view) A fine mezzotint caricature by Collet, parodying the nature and constitution of the regular and militia troops at the training camp established at Coxheath in 1778 (following France’s entry into the war). It shows a portly, indolent officer of “light infantry” being driven to the the camp in a chair by his lady, she dressed ‘a la militaire” in riding habit of military cut. $300/400 |
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 66 H. Bunbury A Visit to the Camp Colored line engraving, proof state, np, nd [1779?]; 10 1/2 x 13 7/8 in. (view) $300/450 | ||
 67 Paul Sandby (1731-1809) The Encampment in Hyde Park MCCLXXX Aquatint, engraved and published by the artist, London, 4 June 1781; 13 5/8 x 18 ¾ in. (plate) Following the anti-papist Gordon Riots in London during 1780, the city’s fine parks became the site of military encampments for the troops that had been brought in to suppress the riots. Soon afterwards, visiting such camps became entertainment for Londoners of all classes. In this view of an army sutler’s tent-tavern at Hyde Park, adults gawk at the troops while children “play soldier” in imitation. Sandby haunted these camps with pencil and folio in hand and later produced an exquisite series of aquatint topographical views from his drawings and watercolors, demonstrating his uncontested mastery of this process, as seen in this fine example. $1500/1800 Literature: Sandby’s Encampment III series, print 1 [OT cat. 794A(1)] of 4, per Ogilby Trust (1972), 256-257; Luke Herrmann. Paul and Thomas Sandby (London: Batstford Ltd., 1986). | ||
 68 Royal Artillery Regiment Priming Horn Overall length: 7 in.; length of spout: 2 1/8 in.; diameter cap: 1 ¼ in.; length of cap: 7/16 in. This style of artillery priming horn was used by gunners and bombardiers during the Revolutionary War and near-identical, engraved horns are found attached to 18th century Royal Artillery pouch belts in the collections of the National Army Museum, London and the Firepower Museum at Woolwich. The horn has a brass spout and cap, the former with simple spring-stopper, while the body is made from the tip of a bullock’s horn. The cap or base is embellished with scribed, concentric rings, and engraved ‘3/RRA/B’, signifying that this horn belonged to the 3rd Battalion of the Royal Regiment of Artillery, which served in America during the war. $1000/1200 | ||
 69 Revolutionary War Era British Cartridge Pouch Body: 5 ¾ H x 8 ½ L x 2 5/8 in. W; weight: 2.2 lbs. Rare and complete example of a pattern known to have been used during the Revolutionary War (another example in a private collection has a history of capture from the 38th Foot during the Lexington-Concord expedition). This form of “pouch” or box, with wooden block drilled to accommodate 26 cartridges, was the most successful design of the four patterns then in use by British infantry regiments and eventually replaced the others, continuing in service into the early Napoleonic period. Beneath the wooden block is a tinned-iron tray, divided into two compartments for additional rounds and a leather implement pocket is sewn to the front of the pouch body. The thick, flap leather is flesh-side out, typical of British make, allowing it to be “stuffed” with a composition of beeswax, lampblack, tallow and turpentine that became known as “blackball” (from its being carried by soldiers in that form to renew such waterproofing, as needed). On the underside of the sewn body are two tinned-iron, buckles for securing the shoulderbelt to the pouch and the leather button closure for securing the flap. Centered below the belt keeper on the reverse of the pouch is a buff leather tab to secure the pouch to the hip button of the soldier’s uniform coat, thereby preventing the pouch from sliding forward while performing the manual exercise or firings. $2000/3000 |
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 70 Continental Artillery Officer’s Button (2) Gilded copper alloy, 15/16 in. dia. Struck in France during 1780-81 under the guidance of Colonel John Laurens, one of Washington’s aides and son of Henry Laurens, President of the Continental Congress and shipped for the use of the Continental Artillery. This is one of only nine buttons of this form known to have their gilded surfaces still intact--all of which were excavated by Bill Willoughby from a site near Fort Johnson on the Cape Fear River, North Carolina. The buttons, which are stamped from thin copper sheeting, originally had wooden backs with catgut cord shanks, which have long since deteriorated. Although approximately ¼ of the button face is now missing, most of the flag over cannon device of the Continental Artillery is still intact. With a Continental Army intertwined ‘USA’ button of pewter. $350/400 Literature: North-South Trader XXV, No. 5, p. 17; Troiani (2001), 102-105. | ||
 71 [Pennsylvania, General Assembly of]. The Acts of the General Assembly of the Commonwealth of Pennsylvania...Together with the Declaration of Independence; the Constitution of the State of Pennsylvania; and the Articles of Confederation of the United States of America. Philadelphia: Francis Bailey in Market-Street, 1781; i-xxxi; 1-527; i-viii index.; 11 ¾ x 7 ½ in. Original calf binding with raised bands and gilt-lettered, red label on spine. Signature clipped off upper rc of title page. $400/500 | ||
 72 Letter to Washington proposing enlistment of German and British POWs: James Wood ALS to George Washington, 2 February 1782, Winchester, Virginia; quarto, 1 ½ pages, docketed in the hand of Tench Tilghman. Unpublished letter by Colonel James Wood (1741-1813), Colonel of the 12th/8th Virginia Regiment, 1777-83 and also superintendent of prisoners in Virginia, 1781-82. Wood was the son of the founder of Winchester, Virginia, served with great merit during Lord Dunmore’s War and the Revolution, and was later governor of Virginia. Written from Winchester--site of an important POW cantonment--Wood notes that “...Since the Capture of Lord Cornwallis’s Army I Percieve [sic] among the Prisoners the Greatest Disgust to the British Service, Particularly the Germans, and Tradesmen belonging to the British; Several sober Industrious Tradesman have made Proposals to me of Serving two years without Pay in Our Army, to be Allowed the Liberty of remaining in the Country, and becoming Citizens; Many of who wou’d be Valuable Acquisitions to any Country....there is One Particular Instance Among the Germans in a Soldier who has his family with him, and who has, I am informed, Acquired Near two thousands Pounds Sterling in Money and Bills, by Suttling, who Offers to lay Out his money in real Property, and to leave it, and his Family in Security for two Years, which he Agrees to serve in Our Army.” The letter is docketed on the recto: “Winchester 2. Feby 1782/from/Col: Wood/Ans[were]d/2 M[ar]ch” in the hand of Lieutenant Colonel Tench Tilghman of Maryland, Washington’s Military Secretary and Aide de Camp. $4000/5000 Provenance: Public Papers of George Washington, dispersed throughout the 19th c.; George H. Richmond catalogue, Autograph Letters (1904), p. 58, item 359; Retz & Storm Catalog #8 (1940), item 181; private collector; acquired 2003. Literature: Washington’s reply of 2 March 1782 denied Wood’s request to enlist POWs and is published in Fitzpatrick, Writings of Washington 24 (1938 ), p. 37. | ||
 73 Blown-Glass Canteen, c. 1775 9 ½ (w/o stopper) x 7 x 2 ½ in. This fine example (with its original stopper and cover) was found in New Hampshire and is very similar to another glass canteen or flask known to have been carried in the Revolutionary War by Robert Bradford of Haddam, Connecticut. Although its sling is now missing, the places where it was inserted into the sides of the original straw or reed cover are quite evident. $200/250 Literature: Neumann and Kravic (1975), p. 63. |
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 74 Stave-construction Canteen 6 ½ in. diameter x 3 1/8 in. wide Of wood-stave construction typical of the cooperage work done in the Mid-Atlantic region during this period, this American canteen has its staves secured by two 7/8 inch-wide, iron bands. It is painted dark grey or black, probably a combination of white lead and lampblack. ‘SxMP’ is carved on the outer face, with traces of white lettering ‘G. [?] and it has three iron wires to act as keepers for a sling. $600/800 | ||
 75 After John Trumbull General Washington Mezzotint engraved and published by Valentine Green at “the appointment of M. de Neufville”, 15 Jan. 1781, Oxford; 24 ½ x 16 in., within late 18th/early 19th c. carved and gilded frame with original, eglomise mat. The second authentic likeness of Washington published in Europe, it was done from the original work painted in London in 1780 for de Neufville. Trumbull is said to have done it from memory, but he was probably aided by a Peale copy of the 1776 Peale original in his possession. Trumbull had previously served as an aide-de-camp to Washington and as deputy adjutant general, Northern Department, but resigned his commission in April 1777 in order to pursue artistic studies in England under Benjamin West. Trumbull remained on intimate terms with Washington through the latter’s life. $2500/3000 Provenance: Joe Kindig, Jr.; Appel Family Collection | ||
 76 After Jean Baptiste LePaon after Charles Willson Peale Le General Washington Engraved and published by LeMire, Paris, nd., (1781) Mixed method engraving, 16 ¾ x 12 ¾ in. (plate)* During his relatively short career, Le Paon painted several battle scenes for Versailles and played a considerable role in the decoration of L=Ecole Militaire. He is most known on this side of the Atlantic for his full figure portraits of George Washington and the Marquis de Lafayette (unlocated), both of which were later engraved and published by LeMire in 1781. Washington’s portrait was derived from Peale’s copy of his 1776 original, brought from America in 1779 by Lafayette. Washington is shown at the door of his marquee, a folding camp table strewn with military maps and his mount saddled and ready. He holds copies of the Declaration of Independence and the Treaty of Alliance with France in his right hand, while tattered British documents of reconciliation are strewn beneath his feet. $2400/2800 | ||
 77 George Frederick Koehler Ship Timber Caissons, and Splinter Proofs, Princess Amelia Battery [Gibraltar] First (proof) state, etched and published by Koehler, Gibraltar, 7 December 1787; 11 7/8 x 17 9/16 in., with wide margins; the title penciled in below the plate-mark. Koehler, a Hanoverian engineer officer, served as General Augustus Elliot’s aide de camp during the siege of Gibraltar, 1781-82. Koehler’s wartime sketches of the personalities and events of the siege were used by many of the British artists and engravers in their own works. This extremely rare etching published by the artist at Gibraltar shows an artillery matross on fatigue duty in his undress uniform, while another enjoys a quiet moment with a female companion. The Princess Amelia Battery was one of the critical outworks erected during the epic siege, during which the British and Hanoverian garrison held-out against the combined French and Spanish force during 1779-1782. $950/1200 |
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 78 Regimentally-marked Short Land Pattern Musket, Type II L: 57 ¾ in. Barrel: 42 in. L x 0.78 bore Lockplate: 7 x 1¼ in. Weight: 10.4 lbs. The Short Land Pattern musket was first introduced into the British Army only a few years prior to the American Revolution, yet the specifications for the Committee of Safety contract muskets were taken from this arm--so successful and popular was it from its first introduction. In 1777, the lock was modified and other small improvements were made to the pattern, which is now known to collectors as the “Type II”, of which this “attic condition” piece is a good example. From 1778 onwards, tens of thousands of this longarm were shipped to America for the use of Provincial corps, Loyalist militia and as replacements for defective arms within regular regiments. Although this is likely a pre-1783 production example, judging by its storekeeper stamp and other features, it probably remained in Ordnance stores until 1795, when it was issued to the 106th Foot, also called the Norwich Regiment. Note the barrel engraving with the regimental title, “NORWICH REGT” and company issue markings on thumbpiece: G/27. The Norwich Regiment was raised in that year as part of an wartime enlargement of the British Army and was disbanded with the coming of peace in 1802 (see lot 102). $3750/4750 | ||
 79 Pattern 1768 Grenadier’s Cap-plate of the 18th Foot Die-stamped, japanned, silvered copper plate over die-stamped iron plate, Formed in 1684, the Royal Irish, or 18th Foot, was one of the senior corps in the army and had been serving in America since 1767. The regiment was stationed in Canada and on the western frontier at Kaskaskia and other posts, although a large detachment, including the grenadiers, were sent to Philadelphia and later, Boston (1775). The 18th’s grenadiers fought well at Lexington, Concord, and Bunker Hill, suffering 17 killed or wounded in those actions. With the remainder of Gage’s troops, the under-strength Royal Irish evacuated Boston in March 1776, arriving at Nova Scotia, where the enlisted men were drafted into other regiments and the officers, non-coms, and music returned to England to reform. The companies remaining on the Illinois frontier were drafted into the 8th or King’s Regiment. In 1768 a new bearskin-trimmed cap was prescribed for grenadier companies in the British Army to have “On the front, the King’s crest, of silver plated metal, on a black ground, with the motto,’Nec aspera terrent’. The 18th Foot or Royal Irish was specifically authorized to wear “On the Grenadiers caps, the King’s crest; also, the harp and crown”, the latter being the “ancient badge” of the regiment. The cap-front consists of a stamped plate of japanned, silvered copper over a reinforcing one of sheet iron, typical of the construction found in the handful of surviving 1768 pattern caps from other corps. Both plates have been struck from the same die, being the standard grenadier pattern employed by most regiments. although the exterior plate has been custom modified specifically to meet the limited, special requirements of the Royal Irish. Since only 50 other ranks caps were required for the 18th’s grenadier company (who first received caps of this pattern in 1774, while serving in America), this was accomplished by merely hammering out the larger GR cyphers flanking the royal arms, thereby allowing the inclusion of die-struck Irish harp devices as prescribed for the 18th Foot. This is the only surviving example known of a Revolutionary War Irish grenadier’s cap. $3500/4500 Provenance: acquired by Jacqueline T. Eubanks in Massachusetts; purchased 2001. Literature: 1768 Royal Warrant in War Office, Class 30, vol. 13B; James Kochan transcript of 1774-75 18th Foot Orderly Book in America (sold by Sothebys, 12 July 1976 sale, lot 441). | ||
 80 British Officer’s Silver-Mounted Fowler/Fusil L: 68 ½ in. Barrel: 52 ¼ in. L x 0.74 bore Lockplate: 6 3/16 x 1 1/8 in. Weight: 8.8 lbs. Made by Heath & Hurdd (listed Birmingham, 1766 and London, 1770), this fine, silver-mounted fowler or sporting gun was made to convert to a fusil by removing a short section of the fore-end, easily accomplished by pulling out the front barrel key, exposing a bottom-mounted bayonet lug. When not in use, the bayonet (missing, but replaced with a reproduction) was carried in a trap accessed by a hinged plate in the silver butt-plate of the gun. The engraved, octagonal-to-round barrel has a silver fore-sight and a rear-sight channel at the tang. The molded and figured walnut full-stock is carved in relief with shells at the breech tang and lock and has chased, pierced, and engraved silver mountings with martial and foliate motifs done in the rococo manner. It owner’s coat of arms and name are engraved on the thumbpiece: “George Dawson”. Dawson served in America through most of the war, first with the 38th Regiment of Foot during 1775-78. Promoted to captain in the 57th Foot in 1778, he transferred into the 16th Foot in 1781. $9000/12,000 Provenance: Arthur Littler Collection | ||
 81 Spanish Short Saber, c. 1760-80 Length: 31 3/8 in. Blade: 25 ¾ x 1 1/16 in. Weight: 1.4 lbs. Spanish military swords of the 18th century are extremely scarce and this pattern was previously unrecorded, although its side branches are near-identical in form to those found on Spanish dragoon broadswords of the period 1750-80. The blade is engraved VIVA DEL REY ESPANA and has wide and narrow fullers. The brass hilt consists of a rudimentary lion-head pommel, with a heart-shaped-guard with scrolled side branches. The outer face of the smaller, inner lobe of the guard is engraved with a shell and tendrils, while the outer lobe bears a fine panoply of arms. The wooden grip is wrapped with green-dyed, fishskin and bound with copper, twisted wire and ribbon. The configuration and blade length are that of a grenadier’s short saber, yet the fine workmanship and engraving would suggest that this was most likely the side-arm of a company-grade or non-commissioned officer in these elite troops. Spanish troops, such as the Louisiana Regiment, distinguished themselves in combat at the sieges of Mobile and Pensacola in 1781, and it is also known that Spanish grenadier swords were issued to George Rogers Clark’s Illinois Regiment in 1779. $2200/2500 Literature: Brinckerhoff & Chamberlain. Spanish Military Weapons in Colonial America 1700-1821 (Harrisburg: Stackpole Books, 1972), 72-103. |
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 82 French 1767/71 Artillery Short Sword with Scabbard Length: 24 7/8 in. Blade: 19 x 1 ¾ in. Weight: 2.2 lbs. (w/o scabbard) In 1767 a new-pattern sword was prescribed for the 64th , or Royal Artillery Regiment of the French Army. Inspired by a Roman gladius or short sword, it was intended to serve foot infantrymen as both a side-arm and occasional tool, its heavy blade well suited for use as a fascine knife. First manufactured in Klingenthal between 1767-1771, it remained in use until the early 1790s. This is a particularly fine example of the rare, well-made arm, which features a heavy, short, double-edged blade of crescent profile, with a single, deep central fuller. 1500/1600 | ||
 83 Rare 4th South Carolina Artillery Return, 1778 Barnard Beekman ADS, 1 ½ pages, large folio, no place, 18 October 1778. Documents relating to South Carolina’s Continental troops, especially the 4th or Artillery Regiment, are extremely scarce. This 1 ½ -page manuscript return shows, in tabular form, the state of the regiment near the close of the 1778 campaign and the equipment and supplies needed to render it fully-effective for subsequent field service. Among the meager ordnance then on hand were only four light fieldpieces: two 4-pounders and two 2-pounders. In contrast, more than 100 categories of ordnance and supplies are listed as needed, including eleven cannon, 5500 “cartridges fixed with grape...say canister”, and 6060 cannon balls. Compiled by the battalion’s indefatigable major, Barnard Beekman, it is docketed on the reverse by him and was thus, the retained regimental copy. Beekman was promoted to lieutenant colonel a week after signing this return and became colonel-commandant on 20 June 1779 after Colonel was killed in action at Stono Ferry. The 4th was raised in 1776 and served with distinction in many actions, including the siege of Savannah, until forced into captivity following the surrender of Charleston on 12 May 1780. $1400/1600 Provenance: deaccessioned from the Henry Ford Museum/Greenfield Village, c. 2000. | ||
 84 Stephen Ashby, noted Virginia frontiersman Richard Morris ALS, 1 p. quarto, 1 December 1780, np. Captain Stephen Ashby commanded a rifle company in Colonel James Wood’s 12th Virginia Regiment, principally raised in the upper Shenandoah Valley of Virginia in 1776. The regiment served with Washington’s Main Army during the 1777 and 1778 campaigns, including the battles of Bound Brook, Brandywine, Germantown, and Monmouth. Ashby was on detached service in Virginia in 1780, when the majority of the Virginia Line was surrendered at Charleston. This letter instructs Ashby to “to proceed to the collection and driveing to the post of Winchester, all cattle fit for slaughter, agreeable to the Governors instructions” from Hampshire and adjacent counties for the provision of Virginia’s remaining Continental and state forces. Wartime Virginia documents are scarce, especially those Shenandoah Valley-related. $400/600 Provenance: John Keller Reid Collection; purchased at Headley’s Auction, 8 May 2003 | ||
 85 Striking Views of the War in America and the West Indies: Recueil d’Estampes Representant les Differents Evenemens de la Guerre Qui a Procure l’Independance aux Etats-Unis l’Amerique. Paris: [1784]. Two engraved maps, thirteen engraved plates, and engraved vignettes on titlepage. Quarto. 18th or early 19th marbleized boards with ¼ blue leather binding, inscribed on front: “Guerre D’ Amerique”. Some light foxing on various plates, primarily in the margins, otherwise very fine example with original guards intact. A very fine and desirable copy of the events of the Revolution, including the tarring and feathering of a tax collector, the battle of Lexington, Saratoga, Pensacoloa, and the surrender at Yorktown, and the land actions in the West Indies, including the surprise of St. Eustatius, the siege of Brimstone Hill, and the taking of Grenada. This published collection of plates with explanatory legends is sometimes called the first French book on the United States. $4500/6000 |
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 86 Sir John Williams (English, fl. 1760s-1780s), 1775 A Draught for Building a Sloop of 14 Carriage Guns [HMS Hornet] Ink and pencil on laid paper (two heavy sheets joined), 13 ½ x 38 in. Inscribed in upper right: “Navy Office/ 13th Novr. 1775/A Draught for Building a Sloop of 14 Carriage Guns/By Messrs. Perry & Co. in pursuance of an Order/from the Right Honble. the Lords Commissioners of the Admiralty. 30th. Octr. 1775/ [breakdown of ship dimensions...and signed] “Williams”; conservation-mounted in gilded, custom-made, reproduction frame. The HMS Hornet was one of 25 ship-sloops built between 1766 and 1780 of the form now known as the “Swan Class (named after the first sloop launched in 1766) and designed by shipwright (later Sir) John Williams, who became Surveyor of the Navy in 1771. She was authorized to be built by Messrs. Perry and Company of Blackwall on 30 October 1775; the keel laid the following month and vessel launched on 19 March 1776. Her dimensions and tonnage were as follows: length of upper deck, 96 ft. 7 in.; length of keel, 78 ft. 10 in.; beam of 26 ft. 9 in.; and 300-ton displacement. Swan class sloops-of-war were armed with 14 (later 16) six-pounder cannon and 14 swivel guns and had a crew of 125 men and officers (full complement). Only three sloops of this class had been authorized prior to the outbreak of hostilities with the American colonies in 1775, the remainder were all of wartime construction and expediency. A successful design, these sloops fulfilled the Admiralty’s urgent wartime need for warships of relatively shallow draft, maneuverability and speed, capable of effectively dealing with the typical enemy cruisers and privateers encountered along the North American coast and in the West Indies. The HMS Hornet served on the West Indies station during her first commission, taking a number of American vessels, and later served on the North American and European stations. After a successful career of fifteen years, she was sold out of service in 1791. This draught of her lines and profile is the only surviving plan of the HMS Hornet, although a few plans for other Swan class sloops can be found in the Admiralty Plans Collection at the National Maritime Museum, Greenwich (copies of which accompany the original). $8000/10,000 | ||
 87 After Charles Grignion, 1778 Captain George Farmer (d. 1779) Engraved by John Murphy and published 14 February 1780 by John Boydell, London Mezzotint proof, 14 x 11 in. (plate), 19 x 14 in. Although largely forgotten in the naval annals of Britain today, George Farmer was a post-captain of long and distinguished career who tragically died with most of his crew following a bloody, single-ship fight with the French frigate Surveillance--an event which was memorialized in popular prints at the time, of which this fine mezzotint portrait was but one. The Quebec caught fire after a two-hour fight, in which each ship dismasted the other and inflicted heavy casualties, including the mortal wounding of the French captain. A cease fire ensued, during which Farmer directed the firefighting until all hope was lost; refusing to abandon ship (the French in the meantime assisting in rescuing what survivors they could reach) he was lost when the Quebec exploded at sunset. Only 68 survived from the Quebec’s complement of 195, although the Surveillante’s crew suffered nearly 50% casualties in the action. $400/600 | ||
 88 Francis Wheatley (English, 1727-1801), c. 1781 A Royal Navy Master and Commander, probably Commander David Mackay Oil on panel, 18 x 14 in., inside original carved and gilded, oval frame When this portrait was acquired, it was misidentified as Admiral Lord Hawke on the basis of a late 19th century gallery label on the panel recto. Hawke, one of England’s great naval heroes of the mid-18th century, was named Admiral of the Fleet in 1768 and died in 1781. However, the sitter wears the 1774-1787 Royal Navy undress uniform of a Master and Commander. Additionally, the background of the painting provides key clues as to the identity of the sitter and the event that precipitated the commissioning of this portrait. In the left background can be seen a small ship-rigged warship running aground under full sail, with the name HUNTER on her stern. An intensive search of Admiralty, Lloyds, and other shipping records in Britain and Europe failed to reveal any Royal Navy ship, privateer or merchantman of that name, or any plausible variant, either wrecked or grounded during this period. However, an little-known event in the American War of Independence is the setting that provides the likely identity of both sitter and scene. During the ill-fated amphibious expedition mounted by the state of Massachusetts against British-held Penobscot peninsula (in present-day Maine) in summer 1779, a British squadron under Sir George Collier entered the Penobscot River and engaged the anchored American fleet on 14 August. The latter, under the command of Commodore Dudley Saltonstall, unexpectedly began to break formation and take flight up the river as Collier signaled his lead vessels to attack, resulting in the capture or destruction of all but two ships. One of the two escaping vessels, “the Hunter...made an attempt to get off by the west passage of Long Island; but failing in that...ran ashore with every sail standing....” Collier sent 50 sailors and marines from his flagship, HMS Raisonable, under the command of Lieutenant David Mackay (commissioned 21 March 1777) to take the Hunter as a prize before she could free herself or be destroyed by her crew; the other ship, the Defence, was anchored in an inlet and burned by her escaping crew. The young lieutenant and his party succeeded in taking possession of the abandoned vessel while under small-arms fire of her former crew, who fled to the shelter of the nearby woods. The Hunter was described as “a fine new ship, esteemed the fastest sailer in America” and armed with 16 (or 20 per another account) six-pounder cannon. Mackay’s service under Collier, especially in taking this prize and being named in dispatches, eventually resulted in his promotion to commander on 14 September 1781. This event would prove the stellar feat of his naval career and one worthy of commemoration for, without seniority or benefit of important patronage, Mackay was placed on half-pay at the close of the war and never again saw active service afloat (d. 1821). $7000/8000 Provenance: purchased from Bruce Gimelson, 1997 | ||
 89 Richard Livesay Portrait of a Royal Navy Post-Captain, c. 1780 Oil on oval wood panel, 11 x 9 in., inside oval carved, molded and gilded frame Livesay (as can be seen in this portrait of a Royal Navy post-captain and that of the British grenadier officer earlier in this catalogue) executed the majority of his portraits in a smaller format and often on wood panel--probably in keeping with the less-hefty purses of his clientele, as opposed to those patronizing the likes of his mentor West. Although they are skillfully-rendered likenesses, the heads are slightly larger in proportion to the bodies. This signature-like feature of Livesay’s portraiture is probably due to his careful execution of a sitter’s head from life, with the torso subsequently painted in the studio after the fact from notes and rough sketches. This portrait was probably done to celebrate a junior captain’s ascendancy to post-rank. $4000/5000 |
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 90 After Benjamin West His Royal Highness Prince William Henry (1765-1837) Etching and aquatint by Francesco Bartolozzi and Paul Sandby; published on 15 January 1782 by Anthony Poggi and John Boydell, London; 24 ¾ x 18 7/8 in. (plate), narrow margins This fine engraved portrait combined the talents of some of the leading lights of the English artistic and print-making community. The original painting (now lost) was executed by the King’s painter, Benjamin West (1738-1820) in 1781, probably commissioned by Anthony Poggi specifically with publication in mind. Francesco Bartolozzi (1725-1815) did the etching, while the aquatint process was the work of Paul Sandby (1725-1809). Bartolozzi was celebrated for his etchings, in imitation of the most noted artists’ drawings, and was then engraver to the king. Sandby was chief drawing-master at the Royal Military Academy and considered the finest practitioner of the aquatint engraving style. All three were Royal Academicians and West later became the society’s president. The work depicts young Prince William Henry (1765-1837) as a midshipman in his working dress. It was probably done from studies made aboard Admiral Digby’s flagship, HMS Prince George, during her refitting in England after the “Moonlight Battle” of 16 January 1780, in which the prince had participated. Admiral Sir George Brydges Rodney, reinforced by Digby’s squadron, came up with the Spanish off Cape St. Vincent in the early afternoon and a running battle ensued that lasted until two the following morning, resulting in the capture or destruction of seven of the nine enemy line-of-battle ships engaged (including the surrender of the Admiral Langara’s flagship, Phoenix). Digby’s squadron later departed for New York, where the future King William IV became the only member of the Georgian royal family to ever set foot in America while it was still under Crown rule. The 98-gun Prince George later joined the British fleet in the West Indies under Admiral Rodney, during which Prince William served with merit at the battle of the Saintes on 12 February 1782. $1000/1500 | ||
 91 Valentine Green (1739-1813) John Hugh Griffith Esqr. Mezzotint, engraved and pub. by Valentine Green, London, 10 September 1782; 13 7/8 x 10 in. with original margins; inscribed: “First Lieutenant of Marines, Killed Jany. 27th. 1782, on board his Majesty’s Ship the Prudent, in the Action off St. Kitts.” Griffin was commissioned a second lieutenant of Marines on 24 March 1776 and attached to the Portsmouth Division. Promoted to first lieutenant on 18 July 1778, his career as a sea soldier was cut-short while commanding the marine detachment aboard 64-gun HMS Prudent. During the battle of Frigate Bay off St. Kitts on 25 January 1782 (which resulted in a strategic victory for the British under Lord Hood), the “Prudent had the misfortune to have her wheel shot to pieces by the first broadside, which occasioned her loss to exceed that of any other [British] ship.” It was while the helpless ship lay exposed to French fire that Griffith received the mortal wound from which he died two days later. This mezzotint of the young Marine officer demonstrates the “perfection which has seldom been equalled” in that medium, for which Valentine Green was so justly celebrated. $850/950 | ||
 92 After Thomas Stothard The Death of Lord Robert Manners Mixed-method engraved by J.H. and Charles Sherwin, pub. 15 August 1786 by Thomas Macklin, London; 19 3/8 x 24 in. (plate), with original margins The gristly reality of this young, aristocratic Royal Navy captain’s multiple wounding at the battle of the Saintes is obscured in this romanticized tableau, clearly inspired by Benjamin West’s earlier, celebrated Death of Wolfe. His bloodless and unmangled body (in reality, he “received an 18 Pound Shot through boath [sic] his Legs & had his Right Arm broke by a Splinter from the Ship side at the same Instant”) is borne off the deck by an entourage of officers and sailors, while the battle rages furiously around them. Despite such liberties for sake of art and marketability, Stothard’s background details of shipboard battle are faithfully executed, from the dress of seaman, to shipboard fittings. On the quarterdeck, behind a bulwark of hammocks in their nettings, marine marksmen fire on the French ship ranged alongside; amidships, a gun crew feverishly rams down another charge before running their cannon out again--motions rendered nearly mechanical from repeated gunnery practice beforehand, plus the urgency of the moment. Despite his severe and agonizing wounds, it first appeared that Manners might recover, until lockjaw set-in and he died while enroute to England a few days after the battle. $1000/1200 | ||
 93 After Sir Joshua Reynolds Rear Admiral Lord Hood Mezzotint engraved and published by John Jones, 4 December 1783, London; 20 ½ x 14 3/8 in. Samuel Hood (1724-1816) was made a Rear Admiral in September 1780 and sent to the West Indies as second-in-command under Rodney. Sent to North America with a squadron to support Admiral Thomas Graves, his subordinate role relieves him from most of the blame for the British naval failure against the French fleet at the Battle of the Capes, the prelude to the surrender at Yorktown during “the campaign that lost America”. Returning to the Caribbean, he was temporarily in command during which he conducted a strategically- brilliant naval operation to attempt the relief of St. Kitts. Although Hood was ultimately unsuccessful, despite his victory at Frigate Bay (in which he seized the strategic anchorage from Comte de Grasse), Brimstone Hill fell to French land forces and the island surrendered. Hood successfully evacuated his squadron under cover of dark and they later participated in the defeat of de Grasse the following month at the Saints. This mezzotint of the Reynolds portrait celebrates the role he played in the latter engagement and the Irish peerage he gained as a result. In the background can be seen closing moments before de Grasse’s flagship surrendered to Hood’s Barfleur. $800/900 |
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 94 Model of the American Privateer “Rattlesnake”, 1781 Scale: 3/16in.:1 ft.; solid wood hull with metal and wooden fittings; model: 21x27x11 in.; plexiglass case: 25 ½ x32 ½ x 15 ½ in. The Rattlesnake was built as a small frigate with lines and features unproportional to her size and strength, with a beam length of 198 feet, main armament of 16-20 cannon, and a crew of 85-125. As a ship-rigged privateer, her owners were granted a letter of marque authorizing her to raid British shipping under the United States flag. She was captured by HMS Assurance off the American coast in 1781. Converted into a sloop-of-war of 12 four-pounder cannon, she was commissioned in the Royal Navy as brig-sloop HMS Cormorant (renamed HMS Rattlesnake in August 1783) and sold in October 1786. Her lines were taken by the Admiralty in 1781, on which plans this model was constructed by William Royall (1941-present) during 1973-76. | ||
 95 Unknown British artist, c. 1782 An Engagement Between British and French Ships [c. 1782] Ink and watercolor wash on laid paper (watermarked: “Pro Patria” inside a cartouche); 7 ½ x 12 ¾ in; Although the action is unidentified, this drawing is likely the product of a participant in the West Indies campaign of 1781-82, as it was found tucked in the pages of a contemporary logbook of the 74-gun HMS Canada. Three British ships, which appear to be a frigate and two ships-of-the-line, are depicted engaging three French ships of similar size. It is possible that one of the ships depicted may be the Canada herself, possibly at either the battle of Frigate Bay or the battle of the Saintes, as she served with distinction during both actions. During the latter, she and Alcide captured Hector and she then closely engaged the French flagship, Ville de Paris, which struck shortly after Rear Admiral Hood’s flagship, Barfleur, came up. Real or imagined, this battle scene is beautifully rendered and clearly the work of either a gifted amateur or professional marine artist. $2500/3000 | ||
 96 Joseph Dixon (fl. 1781-1803) A Plan of Rock Fort in Jamaica Watercolor and ink on laid paper ,20 ¾ x 29 ½ in.; inscribed ‘Joseph Dixon 26th: Septr: 1781 of the 4th Class; scale: 1in.=50 ft. Beautifully-rendered and in fine condition, this plan of Rock Fort in Jamaica was executed by a cadet under the supervision of Paul Sandby, then Drawing Instructor at the Royal Military Academy at Woolwich. Rock Fort secured the eastern approach to Kingston and was defended by a garrison of British regulars and American Provincials (Loyalists) during the Revolutionary War. With the entry of France into the conflict in 1778, the defense of Jamaica, considered the most valuable of Britain’s West Indies colonies, became of utmost importance and steps were taken to improve fortifications, as well as reinforce the island with troops in case of French attack. Rock Fort’s vulnerability from land attack was recognized by skilled engineer officers, under whose guidance the changes shown in this detailed plan were implemented. By 1781, construction of the proposed new masonry works (shown in yellow on the plan) were begun, thereby enclosing the exposed rear of the fort and rendering it more defensible. Dixon is likely the “J. Dixon” who exhibited architectural drawings at the Royal Academy between 1781-1803. $6500/7500 | ||
 97 Adye, Captain Ralph Willett, Royal Regiment of Artillery. The Bombardier, and Pocket Gunner. First American from the Second London Edition. Printed for E. Larkin, No. 47, Cornhill, Boston. By William Greenough, Charlestown, 1804. [14], 277 p., numerous tables in text, 3 ½ x 5 ¾. Dedicated to the Junior Officers of the Royal Regiment of Artillery. Original tan calf with black spine label, red slip case box, ¼ leather, raised bands with gilt lettering on spine. $1800/2000 |
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 98 [Anonymous]. Rules and Instructions for the Guidance of Officers and Non-commissioned Officers of Artillery, in the Field and on Other Occasions, respecting the Use and Management of Guns, &c. Under Their Charge; or which they may be attached. Particularly adapted to the Service in the East Indies. (Short title: The Madras Gunner.) London: Printed for John Stockdale, Piccadilly. 1808. xi, 138 p., 4 folding plates, 25 folding tables, 3 ½ x 5 ½. Original ½ leather re-backed, marbled boards, gilt title on spine. Scarce. $900/1200 | ||
 99 [Anonymous]. The Officer’s Manual in the Field; or a Series of Military Plans, Representing the Principal Operations of a Campaign. Translated from the German. London: Printed by T. Bensley. 1798. iv, 70 p., 50 plates, many folding. Original marbled printer’s boards (loose) with some loss to original spine and label. Very fine and clean contents. $350/450 | ||
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