Etching on paper by and after Bunbury; mortally-wounded uniformed figure lying in bed, surrounded by women, boy servant, soldiers. Etching on paper by and after Bunbury; mortally-wounded uniformed figure lying in bed, surrounded by women, boy servant, soldiers. Count de Peltzer, a Prussian officer, was due to marry Charlotte de Benskow on June 20, 1778, but was called away from Berlin to fight with his regiment against the Austrians. She followed him accompanied by her mother and brother, and came across him in an inn at Herstadt where he had been taken after being wounded in a sally. He died and she lost her mind - (Credit: Wellcome Collection) Wuppertal, Schmidt & Green, 2007

Hand-colored engraving by Stalker after Home, published June 1st, 1811; dying officer in ground at center, attended by staff, soldiers at right and left firing up at city walls in background, artillery crew near gate in background; accompanied by engraved key. Hand-colored engraving by Stalker after Home, published June 1st, 1811; dying officer in ground at center, attended by staff, soldiers at right and left firing up at city walls in background, artillery crew near gate in background; accompanied by engraved key. Large oblong folio, matted; margins; soiled. London, Parker Gallery, 1950.

3rd in collection of 4 colored mezzotints by Daniell after Singleton, published Septr. 19, 1798; deathbed scene in chamber below deck with dying captain and aides, sailors. 3rd in collection of 4 colored mezzotints by Daniell after Singleton, published Septr. 19, 1798; deathbed scene in chamber below deck with dying captain and aides, sailors. Large oblong folio, matted; margins trimmed; edges worn. Hamburg, Schulz, 1951.

Hand-colored impression of an engraving by F. Bartolozzi and W. Byrne after Webber, published 1 July 1785; natives attacking Cook and companions as they are embarking to leave island. Hand-colored impression of an engraving by F. Bartolozzi and W. Byrne after Webber, published 1 July 1785; natives attacking Cook and companions as they are embarking to leave island. Oblong small folio, matted; margins entirely trimmed away. London, Spencer, 1953.

15th in collection of 15 mounted original ink and watercolor caricatures signed by Woodward; 2 16th-cent. women chatting at left; 2 18th-cent. women at right; dialogue text above. 15th in collection of 15 mounted original ink and watercolor caricatures signed by Woodward; 2 16th-cent. women chatting at left; 2 18th-cent. women at right; dialogue text above. Folio and small folio, unbound; in 1/4 blue morocco and blue cloth slipcase st. gold; some stained; from Woodin collection. Camden, Me., Staack, 1952.

Napoleon, represented here with the body of a crow, yet with his own unmistakable profile, is attacked by four large eagles. The elegant birds snatch peacock feathers Napoleon has added to his own dour plumage. The largest eagle wears a collar that identifies him as "Russia" and has two heads (l.). This bird plucks the crown from Napoleon's head while also tearing the cross of the Legion d'Honneur from his neck. Prussia (r.) also engages in this act of revealing Napoleon's impoverished nature. Austria and Sweeden [sic], smaller eagles but just as vengeful, likewise attack Napoleon's fancy plumage. Winged crowns arrive from a distance and hover over the scene. These are inscribed, "Poland," "Bohemia" and "Spain." In the left distance, a Russian soldier on horseback chases French soldiers who run in terror. The mounted soldier holds a long lance with which he has already pierced two of his victims. Napoleon, represented here with the body of a crow, yet with his own unmistakable profile, is attacked by four large eagles. The elegant birds snatch peacock feathers Napoleon has added to his own dour plumage. The largest eagle wears a collar that identifies him as "Russia" and has two heads (l.). This bird plucks the crown from Napoleon's head while also tearing the cross of the Legion d'Honneur from his neck. Prussia (r.) also engages in this act of revealing Napoleon's impoverished nature. Austria and Sweeden [sic], smaller eagles but just as vengeful, likewise attack Napoleon's fancy plumage. Winged crowns arrive from a distance and hover over the scene. These are inscribed, "Poland," "Bohemia" and "Spain." In the left distance, a Russian soldier on horseback chases French soldiers who run in terror. The mounted soldier holds a long lance with which he has already pierced two of his victims. Published by S. Knight, 3 Sweetings Ally, London. 1813-11-10. A French copy of this print (reversed), titled "Le geai dépouillé de ses plumes empruntées," is reproduced in Broadley. George notes that this satire takes up the subject of Leipzig. The borrowed plumes mentioned in the title refer to Napoleon's illegitimacy as ruler of France and foreshadow the restoration of the Bourbon monarchy with Louis XVIII. Title: The Daw Stript of his Borrow'd Plumes, vide Gays Fables of the Daw and other Birds Caption: Pub Nov 10th 1813 by S. Knight 3 Sweetings Ally

Color lithograph by Currier; woman (Jenny Lind?) in vivandière costume playing drum, with soldier standing behind, others in background near tents. Color lithograph by Currier; woman (Jenny Lind?) in vivandière costume playing drum, with soldier standing behind, others in background near tents. Small upright folio, matted; margins; spotted, stained. N.Y., Weyhe, 1943.

Subject: Prince of Wales and Alexandra emerging from wedding chapel; J. Brandard; M. & N. Hanhart Imp. Subject: Prince of Wales and Alexandra emerging from wedding chapel; J. Brandard; M. & N. Hanhart Imp. Title continues: For the pianoforte by Franz Nava. Price 3/6.

Original watercolor on board, signed by George, of standing uniform figure of 5th Lancers, being design for a music-cover. Original watercolor on board, signed by George, of standing uniform figure of 5th Lancers, being design for a music-cover. Upright medium folio; margins. London, Ifan Kyrle Fletcher, 1967

Etched caricature by J. Bretherton after Bunbury, published May 23, 1799; group of standing and seated persons arguing indoors over map of Netherlands, including soldier, man in dressing gown etc. 'Dr. Slop holding book containing the form of excommunication, and pointing at Obadiah who is disappearing, one leg and his back alone being visible. Behind Dr. Slop stands Mr. Shandy and Uncle Toby, with crutch under his left arm, pointing at map of Flanders and speaking to Corporal Trim. Reference to Tristram Shandy, v. 2.' - Library of Congress. Etched caricature by J. Bretherton after Bunbury, published May 23, 1799; group of standing and seated persons arguing indoors over map of Netherlands, including soldier, man in dressing gown etc. 'Dr. Slop holding book containing the form of excommunication, and pointing at Obadiah who is disappearing, one leg and his back alone being visible. Behind Dr. Slop stands Mr. Shandy and Uncle Toby, with crutch under his left arm, pointing at map of Flanders and speaking to Corporal Trim. Reference to Tristram Shandy, v. 2.' - Library of Congress. Oblong medium folio, mounted on blue paper; plate mark, margins trimmed; clean. N.Y., Walter Schatzki, 1961.

Two wood-engraved illustrations on one page in text, from Frank Leslie's Illustrated Newspaper, April 20, 1861, page 340; upper illustration of sailor standing beside cannon; lower illustration portrait of Dahlgren. Two wood-engraved illustrations on one page in text, from Frank Leslie's Illustrated Newspaper, April 20, 1861, page 340; upper illustration of sailor standing beside cannon; lower illustration portrait of Dahlgren. Folio, unbound. Providence, James Tyson, 1951.

Subject: 'Bengal Cavalry', '1st Bombay Lancers', and '13th Bengal Infantry', inset portrait of 'Sir Garnet Wolseley', view of ships in distant bay beyond British fort; 'M & N Hanhart, Lith' Subject: 'Bengal Cavalry', '1st Bombay Lancers', and '13th Bengal Infantry', inset portrait of 'Sir Garnet Wolseley', view of ships in distant bay beyond British fort; 'M & N Hanhart, Lith' Title continues: By Charles D'Albert. Price 4/-

Color lithograph by and after Harly; infantry troops drilling and practicing in foreground, barracks and other buildings in background. Color lithograph by and after Harly; infantry troops drilling and practicing in foreground, barracks and other buildings in background. Oblong, matted; margins trimmed; clean. London, Parker Gallery, 1950.

One of a collection of wood engraved plates of political cartoons; woman (Columbia?) on her knees beseeching President Grant to reconsider his Cuban policy; soldier with flag standing by him, a firing squad in right background near ship. One of a collection of wood engraved plates of political cartoons; woman (Columbia?) on her knees beseeching President Grant to reconsider his Cuban policy; soldier with flag standing by him, a firing squad in right background near ship. From Harper's Weekly, November 29, 1873, page 1057. Hanover, N.H., Book & Print Shop, 1955.

Engraved caricature [by Charles Mosley and others? published June, 1749]; city square showing the Banqueting House, Whitehall, and Holbein's Gate, Westminster, with soldiers from three regiments of foot guards protesting (most with speech bubbles above their heads) the 9 June 1749 order for queues and uniform coattails to be shortened some three inches for sake of convenience on marches, by command and supervision of His Royal Highness the Duke of Cumberland. Along with several other printsellers Mosley was examined before Lord Stanhope over his involvement with this print and other satires on the duke of Cumberland - [see entry for Mosley in Oxford Dictionary of National Biogaphy.] Engraved caricature [by Charles Mosley and others? published June, 1749]; city square showing the Banqueting House, Whitehall, and Holbein's Gate, Westminster, with soldiers from three regiments of foot guards protesting (most with speech bubbles above their heads) the 9 June 1749 order for queues and uniform coattails to be shortened some three inches for sake of convenience on marches, by command and supervision of His Royal Highness the Duke of Cumberland. Along with several other printsellers Mosley was examined before Lord Stanhope over his involvement with this print and other satires on the duke of Cumberland - [see entry for Mosley in Oxford Dictionary of National Biogaphy.] Small oblong folio, mounted on cream paper; margins trimmed; tear at lower edge; yellowed. N.Y., Rockman Prints, 1962.

1 colored photogravure signed 'J.C. Dollman 1915-16'; four wounded soldiers sitting on bench in park with nurse. 1 colored photogravure signed 'J.C. Dollman 1915-16'; four wounded soldiers sitting on bench in park with nurse. Large oblong folio. Ontario, Lord Durham Rare Books, 2017 Prints, Drawings and Watercolors from the Anne S.K. Brown Military Collection, Brown University Library Digital object made available by: Brown University Library, John Hay Library, University Archives and Manuscripts, Box A, Brown University, Providence, RI, 02912, U.S.A., (http://library.brown.edu/)

One of the many satires of Napoleon's exaggerated bulletins sent to Paris. Here, on his way to exile, Napoleon continues to dictate a bulletin to his scribe that reverses his position. making his captors his captives. The scribe (l.), who writes on a long scroll of paper, looks at Napoleon and comments, "Mais Sire! Ces diables des Cossak's your prisoners--take the liberty of the Master and won't let you tell de lie any more!" Eyes downcast, and hands tied behind his back, Napoleon rides a bedraggled white horse to the shore. On the far left border of the image, a tiny island labeled "Elba" stands as his final destination. On the way to exile, an eagle has swooped down to remove Napoleon's crown from his head. The eagle is wearing a medal inscribed "BOURBON" and carries a scroll that reads "Abdication of Nap[oleon]." Cossacks on horseback arrive from the right of the image. They wear heavy capes, fur-trimmed hats and carry spears, some of which are aimed at Napoleon's back. The sheet has been trimmed inside the plate marks. Also, some small tears exist at the borders and a pin hole in the upper left corner of the sheet. One of the many satires of Napoleon's exaggerated bulletins sent to Paris. Here, on his way to exile, Napoleon continues to dictate a bulletin to his scribe that reverses his position. making his captors his captives. The scribe (l.), who writes on a long scroll of paper, looks at Napoleon and comments, "Mais Sire! Ces diables des Cossak's your prisoners--take the liberty of the Master and won't let you tell de lie any more!" Eyes downcast, and hands tied behind his back, Napoleon rides a bedraggled white horse to the shore. On the far left border of the image, a tiny island labeled "Elba" stands as his final destination. On the way to exile, an eagle has swooped down to remove Napoleon's crown from his head. The eagle is wearing a medal inscribed "BOURBON" and carries a scroll that reads "Abdication of Nap[oleon]." Cossacks on horseback arrive from the right of the image. They wear heavy capes, fur-trimmed hats and carry spears, some of which are aimed at Napoleon's back. The sheet has been trimmed inside the plate marks. Also, some small tears exist at the borders and a pin hole in the upper left corner of the sheet. Published by Fores. [1814-05-02] Caption: Boasters are naturally falsifiers, and the/people of all others, that put their shams the worst together.--L'Estrange's Fables. Dialogue: Scribe: "Mais Sire! Ces diables des cossak's your prisoners take the liberty of the Master and won't let you tell de lie any more!" Dialogue: Napoleon: "Tell the Lads of Paris--I have taken two thousand of the D__d Cossack's, and am going to transport them to the Island of Elba!!!" Dialogue: Cossack in blue coat: "Come! Come! push on the Lads of Paris are not to be hum'd any Longer" Dialogue: Cossack in green: "Aye! stop till we lodge you in Elbay and then you and the old one may try which can lie the fastest." Inscription: Pubd. May 2nd by S. W. Fores 50 Picadilly where may be had all the Caricatures of Bonaparte's life. Annotation: TH1. 53 Annotation: Cat. Collector's Mark: A

Color lithograph artist or lithographer, Non Mi Ricordo; military court scene, indoors, showing tribunal at long table etc. Color lithograph artist or lithographer, Non Mi Ricordo; military court scene, indoors, showing tribunal at long table etc. Oblong folio; margins; soiled. London, Spencer, 1955.

Lithograph by and after Krämer, printed by A. Brett; group portrait of Porter, Farragut, Lincoln, Sherman, Thomas, Grant, Sherridan (sic), outdoors. Lithograph by and after Krämer, printed by A. Brett; group portrait of Porter, Farragut, Lincoln, Sherman, Thomas, Grant, Sherridan (sic), outdoors. Large oblong folio, matted; margins trimmed; edges soiled and worn. N.Y., Argosy, 1954.

Hand-colored line and stipple engraving by and after Busby from Jno. Hall, Esqr., 5th Troop (Sir John Hall, K.C.H.); mounted uniform figure (possibly Hall), riding towards left, outdoors, 2 very small mounted figures in left distance; engraved vignette of badge below. Hand-colored line and stipple engraving by and after Busby from Jno. Hall, Esqr., 5th Troop (Sir John Hall, K.C.H.); mounted uniform figure (possibly Hall), riding towards left, outdoors, 2 very small mounted figures in left distance; engraved vignette of badge below. Upright folio, matted; margins trimmed; slightly soiled. London, Francis Edwards, 1962.

Hand-colored etching by McCleary; standing figure in uniform, with lance, landscape background. Hand-colored etching by McCleary; standing figure in uniform, with lance, landscape background. Small upright folio; plate mark, margins; edges worn. New York, Walter Schatzki, 1960.

Hand-colored engraving by. P. Martyn; mounted figure in claret-colored long coat and tall green hat, facing left. Hand-colored engraving by. P. Martyn; mounted figure in claret-colored long coat and tall green hat, facing left. Upright; plate mark, margins intact; soiled, worn. London, Spencer, 1953.

The two heirs to the Spanish throne, Antonio and Carlos, are infantilized and sleep soundly on Napoleon's lap. Like the other sleeping royals, Antonio and Carlos are represented with adult heads on the bodies of babies. In addition, these two wear padlocked collars around their necks. With a devious smirk, Napoleon gazes down on the sleeping infants and sings a lullaby that promises, "You shall have your crowns again--but I don't know when!" He extends his legs wide so that he is able to rock two additional "Imperial Cradles" with his feet. Other members of the Spanish imperial family, the King and Queen of Spain on the right, and Ferdinand, of Austria, sleep soundly. As a caretaker, Napoleon clearly has his hands full. The satire asks us to imagine that chaos that would occur if the children were to wake up crying. Yet, at the same time, it points to the complacency of the Spanish royals and their lack of political cunning. Print is in good condition, but has a repaired tear at bottom center. The two heirs to the Spanish throne, Antonio and Carlos, are infantilized and sleep soundly on Napoleon's lap. Like the other sleeping royals, Antonio and Carlos are represented with adult heads on the bodies of babies. In addition, these two wear padlocked collars around their necks. With a devious smirk, Napoleon gazes down on the sleeping infants and sings a lullaby that promises, "You shall have your crowns again--but I don't know when!" He extends his legs wide so that he is able to rock two additional "Imperial Cradles" with his feet. Other members of the Spanish imperial family, the King and Queen of Spain on the right, and Ferdinand, of Austria, sleep soundly. As a caretaker, Napoleon clearly has his hands full. The satire asks us to imagine that chaos that would occur if the children were to wake up crying. Yet, at the same time, it points to the complacency of the Spanish royals and their lack of political cunning. Print is in good condition, but has a repaired tear at bottom center. Published by Thomas Tegg, N. 111, Cheapside, 12 July, 1808. Caption: Pubd July 12th, 1808 by Thos Tegg. N 111 Cheapside Dialogue: Napoleon: "Hush a bye-Hush a bye-you shall have your crowns again-but I don't know when!" Printed Signature: Woodward Del. Rowlandson scul. Label(s): "Imperial Cradles": "Prince of Austria" "The Good Old King and his Amiable Consort". Plate Mark: 245

A group of figures representing European countries chase the "Corsican Mad Dog" back down the road towards France. Among the European states in pursuit, Prussia, Russia, and Spain are the most prominent. Holland also figures significantly in this image. Yet the representation of Holland as a squat Dutchman wearing somber clothing and a tall black hat shooting a pistol from the safe cover of a barrel suggests that cowardice is a national characteristic. The "Corsican dog," an animal with the head of Napoleon yet with the body of a dog, is a typical device used to dehumanize and vilify Napoleon. In his hasty departure, the crowns of Holland, Italy, Spain, Rome and France slip off his tail. On the left of the image a gibbet inscribed "Road to France" points off the edge of the frame. From it, a noose labeled "Napoleon" hangs in wait for the Corsican's neck. A peasant holding a pitchfork on which is written "Tet[ten]born" approaches the scene from the field. A chase occurs on the horizon, where Russian soldiers on horseback level weapons at French conscripts attempting to escape on foot. This caricature has been cropped and mounted on a larger piece of paper. It shows signs of foxing and discoloration. A group of figures representing European countries chase the "Corsican Mad Dog" back down the road towards France. Among the European states in pursuit, Prussia, Russia, and Spain are the most prominent. Holland also figures significantly in this image. Yet the representation of Holland as a squat Dutchman wearing somber clothing and a tall black hat shooting a pistol from the safe cover of a barrel suggests that cowardice is a national characteristic. The "Corsican dog," an animal with the head of Napoleon yet with the body of a dog, is a typical device used to dehumanize and vilify Napoleon. In his hasty departure, the crowns of Holland, Italy, Spain, Rome and France slip off his tail. On the left of the image a gibbet inscribed "Road to France" points off the edge of the frame. From it, a noose labeled "Napoleon" hangs in wait for the Corsican's neck. A peasant holding a pitchfork on which is written "Tet[ten]born" approaches the scene from the field. A chase occurs on the horizon, where Russian soldiers on horseback level weapons at French conscripts attempting to escape on foot. This caricature has been cropped and mounted on a larger piece of paper. It shows signs of foxing and discoloration. S. W. Fores, 50 Picadilly, London. Publ. 1813-11-16 Title: The Corsican Mad Dog or the Hopefull Situation of the Destroyer of the Human Speice. Mr. Pitt in Reply to one of the Jacobinacal Speaches made by the Opposition respecting the Futility of this Country... Prophetically Asserted The Energies of this Country will one Day Afford an Example for all Other Nations to Emulate & be roused by the Energies of their own to Assert & and Secure their Independance behold ye Jacobines & wonder & perish Despisers. Caption: Pub Nov 16 1813 by Fores 50 Picadilli

Original unsigned watercolor; standing uniform figure of private with grounded gun. Original unsigned watercolor; standing uniform figure of private with grounded gun. Small upright folio, matted; margins. London, Parker Gallery, 1972.

Hand-colored engraved caricature after Rowlandson, published July 10th, 1812; soldier at kitchen table with old man, young woman cooking at hearth at left. Hand-colored engraved caricature after Rowlandson, published July 10th, 1812; soldier at kitchen table with old man, young woman cooking at hearth at left. Upright folio, matted; plate mark, margins intact; slightly soiled. London, Parker Gallery, 1950.

composed ... by A. Fleche. For piano.

Colored lithograph by and after Scharf, published Augt. 20th, 1821; view of procession on foot from Westminster Abbey to Westminster Hall, spectators in grandstands and roadway. Colored lithograph by and after Scharf, published Augt. 20th, 1821; view of procession on foot from Westminster Abbey to Westminster Hall, spectators in grandstands and roadway. Oblong folio; margins intact; clean. Vienna, Christian Nebehay, 1959.

Sepia photogravure (after painting by Georges Becker in the State Tretyakov Gallery, Moscow); Alexander anointed by Archimandrite, priests, court and military attendants nearby and in background, Tsarina at right, imperial family and guests in balcony above. Sepia photogravure (after painting by Georges Becker in the State Tretyakov Gallery, Moscow); Alexander anointed by Archimandrite, priests, court and military attendants nearby and in background, Tsarina at right, imperial family and guests in balcony above. Giant oblong folio, matted; margins; creased. Paris, Bessel, 1955. title provided by cataloger

Color lithograph by W. Kohler; view inside abbey, showing enthroned Queen in center about to be crowned while surrounded by peers and ecclesiastics, spectators in galleries at sides and in background. Color lithograph by W. Kohler; view inside abbey, showing enthroned Queen in center about to be crowned while surrounded by peers and ecclesiastics, spectators in galleries at sides and in background. Small upright folio, matted; margins; clean. Bournemouth, Mathews, 1954.