VN088 combines a mortar with a male gunner and female loader. King & Country identifies the weapon as a captured American M29 81mm mortar. The wide catalog photograph also includes additional supply carriers; those are not part of this two-person mortar crew.
VN058 depicts a barefoot Vietnamese prisoner seated with his hands behind him. He wears dark trousers and a light yellow shirt, with no weapon in his hands. His bent legs and slightly turned head make the pose distinct from the standing captive in the Saigon Embassy Trio.
VN054 portrays a Vietnamese woman carrying a small child against her side. Her conical hat, patterned blouse and dark trousers give the figure a civilian appearance quite distinct from the range’s uniformed troops. The child clings to her, with both faces visible.
Two American military policemen escort a wounded Viet Cong prisoner in VN034. The prisoner’s raised arms and bloodied clothing occupy the center, flanked by the armed MPs. King & Country based the group on a photograph connected with the fighting at the US Embassy in Saigon.
A female Viet Cong figure carries a wooden box high against her shoulder in VN028. Her rifle remains slung beside her body, while both arms help manage the load. Bare lower legs and dark clothing contrast with the more heavily equipped American figures in the same series.
VN022 is a kneeling North Vietnamese soldier aiming an RPG launcher. He wears a pith-style helmet and carries additional rockets behind his shoulders. The launcher’s projecting warhead and the ammunition on his back distinguish him immediately from the nearby AK-armed figures.
The pith helmet and rifle identify a regular soldier in Del Prado’s late-war Vietnam subject. The date is the key: 1975 belongs to the final campaign, two years after the agreement that ended direct American military involvement.
VN020 stretches out behind his rifle, with the sun helmet, arms and curved magazine concentrated at the front of a long, low base. It is easy to overlook a prone figure when browsing a shelf of standing models. Viewed from above and slightly to the side, however, the pose becomes clear: the body’s length and the forward attention are the subject.
