Orlando Norie is considered to have been one of the foremost illustrators of the British army in the 19th century, with thousands of watercolors to his credit in public and private collections. His pictures are highly sought after and command high prices. Yet his life remained a mystery that is only now being uncovered. Many of these wonderful pictures are revealed here for the first time. The Anne S.K. Brown Military Collection in Brown University Library, Providence, Rhode Island, USA, possesses one of the largest, if not the largest public collection of original military watercolors by Orlando Norie. The pictures in the Brown military collection range from single figure uniform studies or composites, to genre and battle scenes and at least one named portrait. These are published as a group for the first time along with Michel Tomasek's masterful account of Norie's life, including comments on the artist's British pictures by Peter Harrington.

Captain Roger Morris, a young British officer in the Coldstream Guards, served in France, Belgium and Holland during the Duke of York's campaign against the armies of Revolutionary France. During the period from May 1793 until March 1795, he kept a diary in which he described the various actions, commanders and incidents, noting failures and poor leadership, and commenting on some of the wider events. Morris also travelled extensively on horseback throughout the region when he was not campaigning, often visiting local churches to view or play the organs!

Charles Nedham was just twenty when he arrived in India in July 1845 as an ensign in HM 10th Foot. For the next four and a half years he lived as a young officer on duty in the sub-continent, finally seeing action in the Second Sikh War at the siege of Multan and the battle of Gujerat. His journal which he illustrated with fine pencil drawings of various sites and buildings offers glimpses of life in peace and war in India, as well as the contempt and prejudices shown by the British towards the native population. He was equally cynical and critical towards a number of the British commanders for their poor handling of the campaign. The journal provides a window into attitudes towards the empire, as well as the life of a bachelor officer in the early 19th century.

Interdisciplinary collection of essays on fine art painting as it relates to the First World War and commemoration of the conflict. Although photography and moving pictures achieved ubiquity during the First World War as technological means of recording history, the far more traditional medium of painting played a vital role in the visual culture of combatant nations. The public's appetite for the kind of up-close frontline action that snapshots and film footage could not yet provide resulted in a robust market for drawn or painted battle scenes. Painting also figured significantly in the formation of collective war memory after the armistice. Paintings became sites of memory in two ways: first, many governments and communities invested in freestanding panoramas or cycloramas that depicted the war or featured murals as components of even larger commemorative projects, and second, certain paintings, whether created by official artists or simply by those moved to do so, emerged over time as visual touchstones in the public's understanding of the war. Portraits of Remembrance: Painting, Memory, and the First World War examines the relationship between war painting and collective memory in Australia, Austria, Belgium, Canada, Croatia, France, Germany, Great Britain, New Zealand, Russia, Serbia, Turkey, and the United States. The paintings discussed vary tremendously, ranging from public murals and panoramas to works on a far more intimate scale, including modernist masterpieces and crowd-pleasing expressions of sentimentality or spiritualism. Contributors raise a host of topics in connection with the volume's overarching focus on memory, including national identity, constructions of gender, historical accuracy, issues of aesthetic taste, and connections between painting and literature, as well as other cultural forms.

Gale and Polden's postcards of British uniforms are now widely collected but little is known about the artists and few of their original paintings have survived. Now over 130 of these rare works by artists such as Harry Payne, Edgar A. Holloway, John McNeill, and Ernest Ibbetson are reproduced here for the first time in full colour with background information as to how the pictures were created. This book is a useful reference for postcard collectors, miniature modelers, as well as collectors and scholars of early twentieth century British uniforms.