| 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 |
 150 British Boarding Pike, 1780-1820 L: 91 ¾ in.; head (inclusive of langets): 22 ½ in. Although the musket had superceded the pike in land warfare by the opening of the 18th century, pikes remained in the shipboard arsenal throughout that century and the next. Approximately 7 ½ feet-long as opposed to the 15-foot pikes once used by the massed infantry formations of an earlier era, they were known as “half-pikes” or “boarding pikes.” The latter term is somewhat a misnomer, as they were generally considered too unwieldy for boarding ships and were instead used to repel boarders. The iron butt caps tended to scar the the wooden decks and were frequently cut off (as in this example) or furnished without a cap. $600/700 | ||
 151 After Philip James de Loutherbourg (2) The Landing of the British Troops in Egypt on the 8th. of March 1801 [and the companion print:] The Battle of Alexandria [not illustrated] Mixed-method engravings by Lewis Schiavonetti, published by Anthony Cardon, London, 1804; each 25 x 32 in., with original, wide margins; inscribed: “To the Officers of the Army & Navy by whose Conduct & Bravery the very important Expedition to Egypt was crowned with a Success that has diffused additional Lustre on His Majesty’s Arms/ This Print Representing the Landing in the Bay of Aboukir on the 8th of March 1801 Is most respectfully Dedicated by...Anthony Cardon” The destruction of the French fleet at the battle of Aboukir Bay on 1 September 1798 left Napoleon’s Egyptian army isolated and made the victorious British admiral, Horatio Nelson, a national hero. However, it would not be until two years later that serious planning was undertaken to eject the French from Egypt. Lieutenant General Sir Ralph Abercromby was selected to organize and command the British expeditionary force of some 14,000 men. After months of logistical preparation and training troops for amphibious landing, the fleet embarked the force from the coast of Asia Minor in late February 1801 and arrived off Aboukir on 2 March. Bad weather postponed the invasion for six more days, by which time the French were able to bring up additional reinforcements to oppose the landings. Although the large ships had to moor miles offshore due to shallow water and shoals, the primary assault force of 208 boats (many of them specially designed flatboats and the rest ships’ boats) manned by Royal Navy crews and filled with 5500 troops, could count on the support from a pre-positioned second wave (of troops embarked earlier on small, local vessels). Despite a storm of shot, shell and musketry from the French defenders, most of the first wave were ashore in less than ten minutes and despite fierce fighting, had secured seized a secure position on the peninsula. The army advanced on Alexandria, meeting stiff opposition that culminated in the battle of Alexandria on the 21st, during which Abercromby was killed while leading from the front. Although a British victory, the British were heavily outnumbered and incapable of advancing further until further reinforcements were received; it would not be until late August that Alexandria capitulated. Although principally an army operation, the landings and subsequent operations could not have succeeded without the active support of the Royal Navy; the Egyptian expedition was the most successful combined operation involving the two services since the West Indies campaigns of 1762. $4000/6000 (pair) | ||
 152 Caroline Bedolfe (fl. 1860s) after unknown artist, 1869 Lieutenant John Nonely Davenport (1780-1802), British Marines, c. 1797 Watercolor miniature on porcelain, 6 x 4 ½ in. oval plaque; inscribed on verso: “Maternal Uncle of Charlotte wife of/Capt. C. H. Say, R.N./ John Nonely Davenport/Lieut. RM./.../Services. Battle of the Landing under Sir Ralph Abercrombie, & subsequent/engagements in Egypt & the Desert &c./Served in the Ajax under Lord/ Dundonald./Obt. Malta July 1, 1802. Aet. 22/ on board the Hydra. Capt. Paget/Surgeon W. Studstone./Caroline Bedolfe fecit/Dulwich/1869.” This portrait miniature on porcelain was copied from an earlier portrait done from life and shows Davenport in the uniform worn by Marine lieutenants between 1797 and 1802, after which the Corps were redesignated as “Royal Marines” (with corresponding changes in trim--the facings from white to royal blue and the metallic trimmings from silver to gold). During the Egyptian campaign of 1800-1801, a temporary battalion of marines was formed from detachment drawn from the fleet and served with the British expeditionary force on land. As with the other British troops in Egypt, fever and disease accounted for far more of the Marine casualties than did battle with the French; among them was Lieutenant Davenport, who succumbed to his illness on 1 July 1802 after being sent to Malta to recuperate. $900/1200 | ||
 153 After William H. Bunbury Sailors Ashore Hand-colored, mixed method engraving, published by John Harris, London, 30 March 1802; 15 ½ x 13 5/8 in., cropped outside of plate-mark. The Treaty of Amiens marked a cessation of hostilities in Europe and the publication shortly thereafter of this popular Bunbury view is probably not coincidental. It shows Royal Navy sailors stranded ashore, enjoying their liberty but probably also contemplating their uncertain future employment. The uncertain peace was short-lived, as war with France and her allied resumed in 1805. $500/800 |
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 154 Admiral Colored etching by J.A. Atkinson, pub. 1 January 1805 by Wm. Miller, London, 13 ¾ x 10 3/8 in. John A. Atkinson (1775-1861) specialized in military and genre subjects and his colored etchings of naval dress are among the most prized, as they are accurate depictions taken from life by a talented observer, rather than stereotypical caricatures of ‘Jack Tar’ as found in most of the popular prints and cartoons of the period. $200/350 | ||
 155 Platonic Love. None but the brave deserve the fair! Hand-colored etching by Thomas Rowlandson after Sir E. Bunbury, pub. by Thomas Tegg, London, 1807; 10 7/8 x 8 ½ in. Besides the usual hazards and dangers of a sea-going life, service in the Royal Navy during wartime added a few more: loss of life or limb from wounds sustained in battle. Not only did one have to contend with a hail of solid shot, grape and small-arms fire, but large, jagged splinters flying off of shattered bulwarks, coupled with falling rigging, spars and masts proved equally effective killers and maimers. Amputation was often the best and only method of saving a man’s life at the expense of severely-wounded limb, rather than hazard the onset of gangrene or blood poisoning by attempting to save it. In this cartoon, a grizzled admiral, bedecked with medals but sans one eye and numerous limbs, is the object of adoration by a comely, young lady, who fondles his peg-leg rather suggestively. $350/450 | ||
 156 Major John Marsden, 18th Foot c. 1804 Watercolor miniature on paper, 3 x 2 1/2 (oval), in brass locket $800/1200 | ||
 157 Sir Robert Ker Porter, RA (1777-1842) Portugese Troops before Santarem, 1808 Watercolor over pencil on paper, 13.5 x 17 in., in later custom-made, carved and gilded frame Porter determined at an early age to become of painter of battles and by 1800, achieved fame and success with his monumental, 120-foot work, The Storming of Seringapatam. Traveling to Russia in 1804, he was appointed historical painter to the emperior and was also knighted by the King of Sweden. At the request of General Sir John Moore, Porter accompanied the British expeditionary force during its 1808 Penninsula campaign, until Moore’s death at Corunna in January 1809. Porter never produced any battle paintings based on such first-hand experience and this striking view of Santarem is perhaps the finest extant, finished drawing during his Penninsular travels. Porter produced aquatint engravings from some of his other Portuguese views, which were published in his anonymous account of the campaign, Letters from Portugal and Spain by an Officer (London: 1809)--an original edition of which accompanies the drawing. In a letter written on 7 November 1808, Porter described the scene which inspired this watercolor: The country is extremely hilly; and the appearance of the city [Santarem] from the last height we mounted before we reached it is beautifully picturesque. It is built on a high and commanding situation, proudly overlooking the far-stretching plains beneath, through the bosom of which rolls the Tagus....while the blue heads of lofty mountains in the distance raise a majestic boundary to the landscape. [Letters (1809), 74-75]. $4500/6500 |
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 158 Unknown artist, British School, early 19th c. Lieut. Col: John McKenzie of the 5th Regt. of Foot Watercolor on paper, 10 x 8 in.; inscribed below portrait: ‘Was kill’d at Corunna in an Action between the Advance Posts on the 15th. of Jany. 1809 Copy of a Picture Presented to the Officers of the 5th. Regt. as a Memento of Friendship by his Disconsolate Widow. Mackenzie became lieutenant colonel in the 5th Foot or Northumberland Fusiliers in 1806. In a heavy skirmish before the left of the British line, he led his men in an attempt to take a French battery that had been brought up, during which “a strong line of infantry who lay concealed behind a wall started up and poured in such a sharp fire that the piquets were driven back, taking their lieutenant-colonel mortally wounded.” $1400/1600 | ||
 159 E. Dietrich (Dutch, early 19th century), 1809 The Arrival of the English in the Veere Gut, Walcheren Expedition (“De Aankomst der Engelshe in Ter Veere, in Oogstmaand 1809”) Hand-colored aquatint, pub. by J. Groenewoud, Zoon, nd. (c. 1809); 8 1/8 x 13 ¼ in. In an effort to relieve French pressure on Austrian and Germanic allies and reduce threats against English naval lanes, an British expeditionary force was launched in 1809 against the Lowlands, intended at destroying the shipping, shipyards, and arsenals of Antwerp and Flushing. The Royal navy landed troops and a naval contingent on the Walcheren coast, who surrounded Veere while bomb ketches and gunboats bombarded the town. Veere surrendered on 31 July, followed by the city of Flushing two weeks later. However, the drive against Antwerp failed, as sailors and soldiers fell victim to the “Walcheren fever” and inept military leadership. Over 4000 men died on Walcheren from disease during this campaign, as opposed to little more than 100 killed in action. Despite its initial success, it ultimately proved one of the greatest British military failures of the Napoleonic wars. $350/450 | ||
 160 After Anthony Devis Alexander Sinclair Gordon, Esqr. Stipple engraving by Anthony Cardon in original color, pub. London 1805; 22 x 15 5/8 in.* Gordon was adjutant and captain in the Light Horse Volunteers of London and Westminster, perhaps the most prestigious of all volunteer corps raised in England during the Napoleonic Wars. He is shown on horseback brandishing his saber, with the horse artillery section of the corps in the background. | ||
 161 After Henry Singleton Robert Campbell Esqr. Lieutenant Colonel Commandant of the Royal Greenwich Volunteers Mixed method engraving by J. Chapman, published by E. W. Forman, Greenwich, 24 Nov. 1810; 27 x 19 in. (cropped inside plate)* The late commander of the Greenwich Volunteers is shown in the foreground, hat and sword in right hand, with his battalion drawn up at support arms and a distant view of Greenwich in the background, including the towers of the Royal Naval Hospital. |
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 162 Pattern 1788 Light Dragoon Sword L: 41 ½ in. Blade: 36 1/8 x 1 7/16 in. Wt.: 2 lbs. In March 1788 a Board of General Officers met to decide on the pattern to be adopted for all future procurements of sabers for light dragoon regiments. After inspecting the various patterns in use by each regiment, they issued a fairly precise description of a standardized blade to be used henceforward: 36 inches long by 1 ½ broad. with a blade curvature of 1 ¾ (taken from a straight line run from the point to the back of the blade at the guard). As to the hilt, they appear to have been purposely vague, merely stating that it was to be of “the same form as that now used by light dragoons.” By this time, most, if not all, of the regular light dragoons regiments had adopted some variation of the stirrup-hilt, “hussar” pattern of Continental origin--first used by British light horse during the Revolutionary War. Thus, despite the development of a “pattern”, variation, especially in the hilt form, continued according to the tastes of a regiment’s colonel-commandant. This 1788 saber is an example of one of those made in Solingen and imported into Britain by John J. Runkel. The German-made blades were of superior quality, yet could be purchased cheaper than British cutlers could make them and most 1788 sabers feature Solingen-made blades. Cutler’s marks were usually placed on the back edge near the guard: “R: Sohlingen” in this case--the ‘R’ standing for Runkel. This example has decorative motifs engraved on the faces of the blade, including mounted hussars, panopolies of arms, and “Light Dragoons.” The grip is shagreen-wrapped and the iron guard has half-langets. $900/1200 | ||
 163 Pattern 1788 Light Dragoon Sword Length: 41 3/8 in. Blade: 36 3/16 x 1 5/16 in. Weight: 2 lbs. Another example of the 1788 Light Dragoon saber, this one is completely unmarked, although the blade is probably of Solingen origin. The blade is to specification, with wide and narrow fullers. The iron-mounted, stirrup-hilt has full- or double-langets and the cord-wound, wooden grip is wrapped with leather. $700/900 | ||
 164 Pattern 1796 Saber with 18th LD markings on Iron Scabbard Length: 37 ½ in Blade: 32 5/8 x 1 ½ in Weight: 2 lbs. Actual combat experience in the Lowlands during the 1790s brought about a realization that the British cavalry swords were inferior slashing weapons to those used by many of their allies and opponents. In 1796 a new pattern of light cavalry saber was introduced, closely modeled on that used in the Austrian forces, which remained in use until the 1820s. It had a broad and well-curved blade, with single, wide fuller. The grip was stirrup-hilt style, of the form known to American collectors as “reverse-P”. The scabbards were of iron, as opposed to iron-mounted leather as found with the earlier patterns. Certainly more durable, they also were problematic--weighing about the same as the saber and noisier--attributes not desired when performing some of the traditional roles of light horse, such as reconaissance. Cutler John Gill furnished this example, which bears his mark ‘I. GILL’ on the back of the blade and a crown/1 inspection mark on the obverse face. The scabbard is engraved near the throat: 18/LD. $700/900 | ||
 165 Rare Sword Belt of the King’s Dragoon Guards, c. 1812 Plate: 3 5/16 x 2 7/16 in.; Belt 1 ¾ W x 35 in. L (not incl. doubling at ends); Rings: 2 in. dia. Although this waistbelt can be seen in artwork of the period ande examples of its plate are in museums and private collections, this is possibly the only surviving example of buff waistbelt used by enlisted troopers of the King’s Dragoon Guards during the Napoleonic period. The reverse of the plate features an attachment bar and flat hook or clasp, which corresponds with the female keeper on the opposite end of the belt. The belt itself is of buff leather, with an adjusting strap on the underside made of harness leather. At some time in the past, oil has been applied to parts of the leather, esp. the suspension straps at the rings, darkening them over time. The belt has a tear about 2/3ds across its breadth a few inches from the plate, which has been stabilized/reinforced by a piece of buff leather on the recto. $1500/2000 |
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 166 Pouch and Belt of the Warminster Yeomanry Cavalry Pouch: 7 x 4 ½ x 2 in.; Sling (excl. swivel): 54 x 2 ½ in. Similar to that worn by the regular British light cavalry but of black patent leather, the carbine sling with swivel-hook is mounted with brass buckles and tip; the small cartridge pouch is attached by two narrow slings to the underside of the sling pattern and bears the intertwined letter ‘WYC’ in brass. $450/550 | ||
 167 ‘Royal Americans’ Military Rifle, c. 1795 L: 44 ½ in. Barrel: 28 ¾ in. x 0.56 bore Lockplate: 5 5/16 x 1 1/16 in. Wt.: 7.8 lbs. The first rifle corps serving with the British Army in the 1790s were raised from foreigners, such as Hompesch’s Chasseurs, although other corps were raised in Britain, the first being Ramsay’s York Rangers. They both served in the West Indies expedition, including the St. Domingo campaign and were later merged into the 60th Foot (“Royal American Regiment”). The arms for such troops were also obtained from foreign sources until the Baker rifle began production in 1800--principally captured jager rifles from the Batavian Republic (Netherlands). This example is a Batavian military rifle of the pre-1798 configuration and appears to have been refurbished in England following its capture. The original lock has been replaced with an Ordnance flat carbine pattern. The octagonal barrel was also re-proofed and bears the Ordnance private view marks. There is a storekeeper’s stamp on the butt and the thumbpiece on the wrist is engraved with “60th Regt”. The Dutch musket cock now on the rifle is probably a later replacement; this rifle is illustrated and discussed in Bailey (2002), p. 191. $3500/6500 Provenance: R. MacInnes Collection until 2000; purchased from Brian Knapp, 2001 Literature: DeWitt Bailey. British Military Flintlock Rifles, 1740-1840 (Lincoln, RI: Mowbray Publishing, 2002), 93-104, 191; Dewitt Bailey letter to James Kochan, 22 March 2002. | ||
 168 Powder Horn of a British Rifle Corps, c. 1800 10 in. L (incl spout) x 2 ½ in dia. (at base); cover: 4 5/8 L x 1 5/8 in. dia.(at closed end) This well-made powder horn was clearly intended for military usage and is of late 18th-early 19th century British construction. It has a sheet-brass cap closing the base of the horn and the tip is mounted with a brass spring-charger. Two brass rings are attached to the horn for the suspension cord, one to the base cap and the front one to a narrow brass band fixed around the horn, but set-back from the charger-spout. A few other examples of this pattern are known in British collections; some of which also retain portions of their original, braided leather suspension cord, finished at the end with a tasseled, 7/8 in. diameter Turk’s head knot of the same. Apparently unique to this pattern horn is the leather cover (resembling a dice up) to protect the spring-charger when not in use. It has two leather D-loops sewn on one side, securing it from loss but allowing it to be slid off the horn when for loading. $700/900 | ||
 169 A ‘Royal Americans’ Rife Officer, 5th Battalion, 60th Foot, c. 1820 Watercolor on ivory, 3 x 2 ½ in. oval, within japanned, wood frame $600/900 |
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 170 British Off[ice]r. 95 Regt. or Rifle Corps (2) Colored engraving, published by T. Goddard & I. Booth, London, nd (1815); 8 5/8 x 5 5/8) [with] Rifle Corps Private Skirmishing in Pit Colored lithograph, nd, 5 ½ x 3 5/8 in. (view) $250/350 (pair) | ||
 171 Pattern 1801 Baker Rifle Bayonet & Scabbard L: 27 ¾ in. Blade: 23 x 1 3/16 in. Weight: 2 lbs. (w/o scabbard) The Pattern 1801 or Second Pattern sword bayonet was developed by Henry Osborn in 1800 and first produced by the following year, remaining in production through 1815. It differed from the first pattern primarily in the D-shape of its knuckle-bow, as opposed to the squarish profile of the former. This example is maker-marked“‘OSBORN/& GUNBY” on the flat of the blade, with a crown/19 inspection mark on the obverse of the blade. The upper 2/3ds of the scabbard are extant, including brass throat ferrule with button; the leather brittle and cracked and the seam stitching broke-open. $350/550 | ||
 172 British Sergeants Pike Length: 96 in.; shaft: ; spear: In 1792 the traditional halberd of British infantry sergeants was replaced by a longer pole-arm that was deemed more efficient for combat service. This half-pike was essentially a heavier version of the spontoon carried prior to 1792 by commissioned officers in battalion companies. $700/900 | ||
 173 After William Heath (4) Battle of Vittoria, June 21, 1813 [with] After William Heath Battle of Talavera, July 28th. 1809 Colored aquatint by M. Dubourg, pub. by J. Jenkins, 1 June 1815, London; each 8 7/8 x 12 in. [with two additional framed prints] Ciudad Rodrigo, steel engraving, G. Terry after D. Pound, pub. London, nd, 7 ¼ x 9 ¾ in. (view); and Battle of Waterloo, colored line engraving, E. Goodal after W. Craig, pub. by Nuttal, Fisher & Dixon, Liverpool, Aug. 1816; 8 ¼ x 10 ¾ (view). $250/450 |
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 174 [Two Original Plans of the Bombardment of Algiers, 1816] Two (2) pen and manuscript maps, 12 ½ x 7 7/8 in. and 5 3/8 x 8 1/8 in., respectively; with Charles Richards ALS (in which they were enclosed), 3 pp., quarto, to General Sir Thomas Brisbane, written aboard HMS Albion, Malta, 13 December 1816 Letter written by Charles Richards, a young midshipman aboard HMS Albion, in which he “takes the liberty of sending [Brisbane, his patron] a plan of the late attack on the City of Algiers which I had the pleasure of being engaged”, noting that “I have done it in rather a rough style but hope it will meet your approbation as I have been particular in making my observations although they are rather few.” Richards is probably referring to the larger of the two, heretofore unpublished, manuscript maps, although the fold lines of both indicate that they were probably enclosed in the same letter. He is referring, of course, to the famous British-Dutch naval expedition against the Barbary city-state of Algiers under the command of Admiral Lord Exmouth (Edward Pellew). During the bombardment of 27 August 1816 which lasted through the night, the flaship alone fired fire 4,462 shot. The following day, the Dey of Aliers acceded to Exmouth’s terms, which included freeing 1,083 Christian slaves; following this event, the Barbary corsairs ceased to be a to European shipping plying the Mediterranean and African coasts. Richards notes that the general’s relative, Flag Captain Charles Brisbane, was knighted for his role in the battle and that his own “Captain Coode is dangerously wounded but am in hopes he will recover.” $2500/3500 | ||
 175 Regimental Drum of the 39th Regiment of Militia, c. 1803 This is a rope-tension, snare drum as issued to the Carmarthenshire Regiment, which was renumbered as the 39th Regiment of Militia in 1803. Per royal warrant, drums were to have their fronts “painted with the colour of the facing of the Regiment, with the King’s cypher and the crown, and the number of the regiment under it.” It is most likely that this drum had been issued earlier in the 18th century, as the facings for this corps were changed to blue in 1799 when they received a “Royal” designation and ground is yellow. In all other respects, it conforms to that regulation. There is a split in the wooden shell around the center of the drum which was repaired by a previous owner; during this restoration, the old varnish of the shell was removed and new varnish reapplied after light inpainting of loss in the damaged area--hence the brightness of the yellow paint as opposed to that on the rim (which still has its original now-darkened, varnish over it). The shell and rims are original, while the heads and cords are modern replacements. $3000/3500 | ||
 176 Regimental Bass or Side Drum of the Carmarthenshire Militia, c. 1803 This striking bass drum was used by the band of the Carmarthenshire Regiment (Welsh Militia) during the late 18th and into the early 19th century. It bears a stag on a yellow ground, the remainder of the shell being painted blue. The stag is presumed to be the old regimental device (or the crest of its colonel-commandant) prior to it being redesignated the Royal Carmarthen Fusiliers, upon which the device was changed to the Prince of Wale’s feathers. Like the snare drum above, the yellow ground indicates the earlier facing color of the regiment. The blue around the balance of the shell may have been applied when the facing color changed in 1799. The shell and rims are original and the heads and cords are modern replacements. $3000/3500 Provenance: same as above lot. | ||
 177 After Charles Hamilton Smith Drum Major &c. of A Regiment of the Line. Pioneer of the Grenadier Compy. of Do. Color aquatint by J. C. Stadler, pub. by Colnaghi, London, 1 March 1815; 12 1/2 x 9 3/4 in. (plate)* $150/200 |
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 178 After Eduoard Detaille [Grenadier Guards Bugler] and [Piper of the 42nd (?) Highland Regiment] (2) Hand-colored photogravure plates, np. (Paris?), 1879; each 12 x 18 1/2 (view) with margins, Scarce, companion views of a Grenadier Guards bugler and Highland Piper done contemporaneously by the master French artist Detaille who rarely did prints of British subjects. Detaille is most noted for his monumental work on the French Army and his stirring Napoleonic paintings. $200/400 pair | ||
 179 Drum Major’s Belt of the Royal Meath Militia, c. 1810 The Meath Regiment of Irish Militia was raised during the French Revolutionary War, at which time it was numbered 119 in precedence. By 1810 it had been designated a “royal” militia regiment, its facings changed to blue, and its number changed to the 17th Regiment of Irish Militia. This is a rare example of a Georgian drum-major’s belt or baldric. Its is made of superfine scarlet cloth edged with silver lace and bears an embroidered device in the center and has a tasseled end. One of the two ebony drumsticks still remain; it has an ivory tip and is capped in silver, with the regimental device of a harp engraved upon it. The belt is lined with blue wool. $1250/1500 | ||
 180 Drum Major’s Staff, American, 1st half 19th century Overall length: 57 in. Original Spanish brown or red ochre paint with gold-painted knob and brass ferrule at the bottom; the carved, hexagonal-round, wooden shaft is trimmed with red cord down its length and ends in a brass ferrule or tip. $600/750 Provenance: William Guthman Collection until 2003 | ||
 181 After William Hogarth A Representation of the March of the Guards Towards Scotland in the Year 1745 16 5/16 x 21 5/16 in.(plate); etched and engraved by Luke Sullivan, London, 31 December 1750 A rare first printing of this famous satirical engraving, which depicts the march of the Brigade of Foot Guards towards Scotland during the 1745 Jacobite Rising. Although a comic look at the departure of a British regiment from its garrison (leaving behind mementoes of its stay including pregnant maids and unpaid bills), Hogarth painted ad engraved this scene from firsthand experience and the details of dress, weaponry and accoutrements are correctly depicted and a boon to the student of such subjects. As with all Hogarth caricatures, the minutiae of details provide bawdy delight during leisurely gazing, from the syphilitic soldier urinating before a house to another stealing a kiss and more! $1200/1500 |
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 182 The 3rd Foot Guards 1792 – A Rare Set of Dayes Prints (3) After Edward Dayes, etched by T. Kirk, with hand coloring by Thomas Girlin, pub. 1 February 1792 by Capt. Hewgill of the Coldstream Regiment of Guards, sold by J. & J. Boydell, London; each 13 x 15 in. (plate) with margins. These beautiful prints are perhaps the finest uniform plates produced during the 18th century and are extremely rare today. This set of 3 represents the uniforms of the Third Regiment of Foot Guards as they appeared in 1792. Each plate has 2 figures; one plate shows a battalion commissioned officer and sergeant, another a drummer and private and the third a grenadier officer and grenadier private. Dayes (1763-1804) was appointed “Draughtsman” to the Duke of York, who was then colonel-commandant of the 1st and 2nd Foot Guards, and it is likely that those prints were produced under such royal patronage. $4500/6500 Provenance: deaccessioned from the Army Museums Ogilby Trust; acquired 1998 | ||
 183 Thomas Malton The Parade Sepia aquatint, engraved and pub. By the artist, London, 30 Sep. 1794; 8 3/8 x 11 7/8 in. Shows the parade ground before the Horse Guards building in London, with grouping of Foot Guards battalion troops, including an officer and 3 field music to the left, with 6 files marching in the right center foreground. Malton was one of the finest watercolorists and engravers working in Ireland and this print is from his Tour of London. $300/400 | ||
 184 After John A. Atkinson March of the Guards Towards the Sea Coast Engraved by C. Sheringham, pub. By Laurie & Whittle, London, 3 Feb 1806; 11 x 16 ½ in. $350/550 | ||
 185 After Charles Hamilton Smith Grenadiers of the Foot Guards in Full Dress Color aquatint by J. C. Stadler, pub. By Colnaghi, London, 2 July 1812; 12 ¾ x 10 in. (plate) $250/350 |
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 186 Engraved Powder Horn of the 3rd Foot Guards, 1827 15 in. 1 x 3 3/8 in. dia. At base; wood plug at base with decorative carving. This horn is a souvenir of Portuguese Expedition of 1826-27, a little-known “war” between Portugal and Spain over succession to the Portuguese thrown. Britain dispatched an entire division of her army, including a brigade from the Guards, to serve overseas in concert with the Portuguese Army. The horn is engraved with various motifs, including the British royal crown, flanked by a GR cipher, over the Portuguese (?) crown. Below this is a stand of British stands of colors/Elizh. Renton/2nd Bn: 3rd: Gds:/Lisbon Portugal/1827. Elizabeth Renton’s identity is uncertain; perhaps her spouse was an officer or soldier serving tin the 2nd battalion, 3rd guard that she may have accompanied to Portugal. The wooden stopper has shrunk and is now within the horn. $500/600 | ||
 187 Folding Camp Cot, late 18th –early 19th century 76 in. L x 40 in. W x 34 in. H This folding camp bed or cot (in its original red paint) is a pattern that had widespread usage among American and British officers during the Revolution-War of 1812 period. One, claimed to have belonged to the Marquis de Lafayette, is in the Connecicut Historical Society. However, other documented examples with Revolutionary War usage are in Canadian and American collections, including one with a Washington association in the New York Historical Society. This example still has its original sailcloth or canvas cover and was acquired in Massachusetts. The head and foot boards remove to allow folding of the cot. $2000/3000 | ||
 188 A “Butler’s Patent” Campaign Bed, 1802-1810 Mahogany with brass fittings, 6 ft. 8 in. H x 6 ft. 4 in. W x 42 ½ in.L) A folding campaign or camp bed of Butler’s Patent, done in the Sheraton style, with fluted posts. Thomas Butler was an important manufacturer of patent campaign furniture (including beds, tables, chests, cots and chairs), working in the Strand, London from 1787-1814. This bed has a brass plaque inscribed “Butler’s /Patent/Number 13-14/Catherine St. Strand/London” the address that Butler occupied from 1802-10. A similar example to the bed is shown in Brawner (2001) but with wood –slat mattress supports; however, this one has brass loops for suspending a canvas or leather support in leiu of slats. This previously undocumented feature is probably an element of one of his patents, in addition to the brass hinges and screw-posts that characterize his campaign furniture’s construction. $5000/6000 Provenance: Joe Kindig, Jr., 1937; Appell Family Collectin Literature: Nicholas A. Brawer, British Campaign Furniture (NY: Harry Abrams, 2001), 76, 101-3, 169-71, 192-8, 205. | ||
 189 Razor Box, 1790-1820 10 ¾ x 1 ¾ in. This neoclassical razor box or “shaving case” of wood, with its carved pedestaled-orb or globe, still contains its original razors. The wooden hinged lid and recto are faced with leather, for stropping the razors; the latter have carved bone handles and the blades are of Sheffield steel. $200/250 |
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 190 After Martinet Bivouse Anglais dans les Champs Elsvca [with] Bivouac de la Garde Royale Prussiene dans le Jarden du Luxemburg Colored aquatints engraved by Janet and Couqueret, respectively: published in Paris, 1815; each approximately 12 x 16 in. $500/600 (pair) | ||
 191 Prussian Fusilier-Fascinenmesser Pattern 1787 Length 23 5/8 in. Blade: 18 ½ x 1 ¾ in. Weight 1.8 lbs. A practical side-arm that combined the secondary weaponry role of an infantry hanger with the invaluable brush-cutting qualities of a fascine knife. Introduced in 1787 principally for the use of light infantry troops, it remained in use by the Prussian Army until the 1840’s a testament to its usefulness as a camp tool, etc. $50/100 | ||
 192 Campaign or “Madeira Boots” of a Rifle Brigade Officer This pair of goatskin turn-boots was axquired by then-Lieutenant Richard Frederick Meysey-Thompson (Adjutant of the 2nd Battalion, Rifle Brigad) at Frenchal in the island of Madeira, while enroute to Africa. Kept as a souvenir of the Ashanti War (during which Meysey-Thompson was present at the battles of Amouful, Ordahsu and the capture of Commassic), he prepared a label (still attached to the boots) noting that he word a similar par “during the Ashanti Campaign in hot Weather 1874.” Virtually identical boots worn by Prince Menshilkov at the battle of Alma (1854) during the Cremean War and by President John Quincy Adams (in the collections, respectively, of the National Army Museum and Bata Shoe Museum) demonstrate both the traditional form and the long standing popularity of this practical footwear. $500/700 Provenance: by descent in the family; sold at Bosleys, 1998] | ||
 193 Portable writing case of Lieutenant W. B. Foulkes, 5th Dragoon Guards Polished russet leather, 10 1/8 x 5 x 2 in. the lid with decorative tooling and bearing “W.B. FOULKES ESQ. 5TH DRAGOON GUARDS” in stamped letters. William Burnion Foulkes was commissioned as a cornet on 30 April 1861 and promoted to lieutenant on 16 January 1863. He was advanced to captain on 20 October 1869, retiring on 28 October 1871. According to the regimental history: “He was in command of the detachment at Kilmallock which captured ‘Colonel O’Brien the Fenian in 1867…Lt. Foulke’s share of the reward was L100. Lieutenant Foulkes had the honour of being the subaltern with the escort which escorted Queen Victorian to and from the review at Windsor June 25, 1869. In 1869 he wone the Regimental Cup for the 3rd time, thus winning it outright, and presented a new one to the regiment, to be run for under similar conditions.” $200/300 |
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 194 After David Cunliffe, British School, 19th century Color Party of the Royal Welch Fusilliers Oil on canvas, 25 x 30 in., in a gilded and molded frame In 1849, the Royal Welch Fusiliers (or “Welsh Fuzileers” as it had earlier been known) were stationed at Winchester and during this period, David Cunliffe (fl. 1825-1856) painted a group portrait of some of its officers and other ranks. The painting commemorated the presentation of new colours to the regiment that July. The original work remains with the regiment today and at least one contemporary copy by Cunliffe is known. The figures shown include 2 fusiliers in parade marching order, the drum major, and the 2 subalterns who received the new colours from Prince Albert: Lieutenants F. H. Sutton and R. Bruce. Of course, central in the painting is the goat “Billy”, the regimental mascot, led by a pioneer as per established tradition. As with the Cunliffe copy, this work was most likely privately commissioned at some later time by a regimental officer for his home, or perhaps it hung in one of the battalion messes away from the regimental headquarters. $2500/3500 Provenance: from the estate of a Welch Fusilier officer | ||
 195 Albumen of Sardinian officer in Crimea, 1855 [with] Carte de Visite of Lt. Laing, 14th Hussars, 1860 The former: approx. 3 ½ x 2 ½, inscribed “Sardinian Officer, A.P.” below image; the latter inscribed in pencil on reverse Lieut. M.A. Laing/ 14th Hussars” on reverse. $50/150 | ||
 196 Anonymous artist, mid 17th century, IMAGINES/Quorondam Principum/& Illustrium/VIRORUM. Pen and ink on laid paper, 8 1/8 x 6 in. Decorative design for a book frontispiece of title page with title flanked by rampant lions, armorial devices and floral motifs. $500/600 | ||
 197 Anonymous artist, 19th century Portrait miniature of a lady in c. 1790 clothing Watercolor on ivory, 5 5/8 in. circle (view) inside frame $500/600 |
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 198 Charles Baxter, RBA (1809-1879) Leaveland Church Kent (c.1824) Pencil drawing on embossed card, 4 x 5 ½ in. Exquisitely rendered landscape drawing with decorative, embossed borders of hunt scenes. Embossed cardstock marked “Westwood London” as a long lower border, presumably the cardstock manufacturer. Baxter was a London-based painter of fancy portraits and charming pretty girls in the “Keepsake” tradition. Subjects also included poetic and rustic subjects. He started his career as a bookbinder and miniature painter and was elected a member of the Society of British Artists in 1842. $400/500 | ||
 199 Charles Baxter, RBA (1809-1879) Netly Abbey, 1824 Pencil on embossed card, 3 5/16 x 4 ¾ in. Finely-detailed pencil drawing on card with decorative embossed borders consisting of classical motifs (card probably made by Westwood of London). Initialed by artist “CB” in lower left-hand corner outside of embossed margin. Inscribed on reverse: Netly Abbey/&/Fort—CB1824. This drawing appears to be a companion work to the Baxter work above. $350/450 | ||
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