Original oil painting, signed and dated by Day; four overweight officers in overcoats, boots and helmets, standing in conversation in pine barrens; young aide kneeling at right. Original oil painting, signed and dated by Day; four overweight officers in overcoats, boots and helmets, standing in conversation in pine barrens; young aide kneeling at right. In wooden frame. Gift of H. Talmage Day.

Original sepia ink and wash sketch signed and dated by Day of a gathering of military officers outdoors, tent and trees in background. Original sepia ink and wash sketch signed and dated by Day of a gathering of military officers outdoors, tent and trees in background. Oblong medium folio; no margins; tear at lower margins, some staining.

Original unsigned ink caricature (by Goichon); 3/4-front view of mounted gigantic Life Guardsman on small horse. Original unsigned ink caricature (by Goichon); 3/4-front view of mounted gigantic Life Guardsman on small horse. Upright folio, matted; margins intact; clean, slightly creased.

Hand-colored engraved semi-caricature plate (by and after Heath); full-length portrait of George IV in uniform. Hand-colored engraved semi-caricature plate (by and after Heath); full-length portrait of George IV in uniform. Upright folio; plate mark, margins intact; edges slightly soiled. Preston, Lancs., Export Book Co., 1955.

composed by Walch. For piano. Cover title. "Our country is safe"--cover. Lithographic cover illustration by T. Moore showing Rangers marching through city street. Subject: A military parade on Berry Street which ran between Federal Street and Atkinson Street. Its name was changed to Channing Street in 1845.

Hand-colored etched caricature, numbered 2; George IV and Sir William Curtis in kilts, itching and hopping about in room with courtiers and 2 ladies, military officer in left background. Hand-colored etched caricature, numbered 2; George IV and Sir William Curtis in kilts, itching and hopping about in room with courtiers and 2 ladies, military officer in left background. Oblong medium folio, mounted on blue paper; plate mark; margins; soiling in margins. N.Y., Walter Schatzki, 1961.

Engraving; view showing execution scaffold at left surrounded by soldiers and by large crowds on foot and in grandstands, Tower of London in right background. Engraving; view showing execution scaffold at left surrounded by soldiers and by large crowds on foot and in grandstands, Tower of London in right background. Depicts the execution of William Boyd, 4th Earl of Kilmarnock, and Arthur Elphinstone, 6th Lord Balmerino for their part in the 1745 Jacobite uprising Vienna, Christian Nebehay, 1962.

Collodion print photograph; family portrait, 2 women, 6 men and a dog, 5 standing and 2 seated, outdoors; shrubs and valley or depression in background, at Nainital. Collodion print photograph; family portrait, 2 women, 6 men and a dog, 5 standing and 2 seated, outdoors; shrubs and valley or depression in background, at Nainital. Oblong; no margins; edges slightly wrinkled and faded. title provided by cataloger

Part of collection of 66 original signed oil paintings on fiber board by Harry Payne for Gale & Polden postcards; 3 standing infantrymen with 2 regimental flags, facing left, outdoors; other soldiers standing behind them. Part of collection of 66 original signed oil paintings on fiber board by Harry Payne for Gale & Polden postcards; 3 standing infantrymen with 2 regimental flags, facing left, outdoors; other soldiers standing behind them. Folio, unbound; some edges etc. soiled or worn but images in good condition; in 2 red cloth cases, red leather labels stamped gold. London, Francis Edwards, 1966.

33rd in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); 2 infantrymen, rifles on shoulders, marching down woodland road; note on verso: "16th". 33rd in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); 2 infantrymen, rifles on shoulders, marching down woodland road; note on verso: "16th". Oblong and upright, 61 pieces; a few soiled; in folio red cloth case, red leather label st. gold. London, Francis Edwards, 1966.

Unsigned original watercolor by McNeill; 2 infantrymen in scarlet jackets marching down forest road. Title on verso. Unsigned original watercolor by McNeill; 2 infantrymen in scarlet jackets marching down forest road. Title on verso. Upright; no margins; stained.

Hand-colored etched caricature plate after Woodward, published Octr. 12, 1799; 2 rows of satirical scenes of war, showing small groups of military and civilian figures, including soldiers molesting a woman, a soldier bayoneting a baby. Hand-colored etched caricature plate after Woodward, published Octr. 12, 1799; 2 rows of satirical scenes of war, showing small groups of military and civilian figures, including soldiers molesting a woman, a soldier bayoneting a baby. Oblong folio, matted; margins trimmed; clean. London, Maggs, 1952.

In this apocalyptical scene, the figure of Spain (r.) attacks Corsica (l.), here represented as a seven-headed beast marked with the number "666." The crowns are inscribed Naples, Austria, Holland, Denmark, Russia, Prussia and France, indicating the territories at war with Spain. As Spain severs Napoleon's head from the beast's body, the crowns topple and fall towards the allegorical figure of Hope (center), who runs to catch the crowns in her apron. To the far left, a city, as well as the surrounding countryside, is obscured by flames. At the right of the sheet, help arrives by ship above which is inscribed "Admiral Purvis." Rowlandson incorporates other apocalyptical references into the title of the sheet outside the bottom border of the frame. Underneath Napoleon's name, spelled phonetically as "Napolean Bounaparte," the artist records the correspondence between the letters and their sequence in the alphabet. The sum of these letters, "666," is provided for the viewer. In this apocalyptical scene, the figure of Spain (r.) attacks Corsica (l.), here represented as a seven-headed beast marked with the number "666." The crowns are inscribed Naples, Austria, Holland, Denmark, Russia, Prussia and France, indicating the territories at war with Spain. As Spain severs Napoleon's head from the beast's body, the crowns topple and fall towards the allegorical figure of Hope (center), who runs to catch the crowns in her apron. To the far left, a city, as well as the surrounding countryside, is obscured by flames. At the right of the sheet, help arrives by ship above which is inscribed "Admiral Purvis." Rowlandson incorporates other apocalyptical references into the title of the sheet outside the bottom border of the frame. Underneath Napoleon's name, spelled phonetically as "Napolean Bounaparte," the artist records the correspondence between the letters and their sequence in the alphabet. The sum of these letters, "666," is provided for the viewer. Published by Ackermann,1808-07-22. Caption: Resembling Napolean Buonaparte Caption: Pubd. July 22 1808 by R. Ackermann N. 101 Strand Dialogue: Spain: "True Patriotism shall thus subdue The monstrous beast and quell the rage of War!!!" Printed Signature: Thomas Rowlandson f.

The Russian Bear and the English Bull Dog join together to attack Napoleon, represented here with the body of a monkey and a human head. The Bear stands behind Napoleon and grips his flailing arms with large paws, while his teeth rip into the cocked hat on top of Napoleon's head. The Bull Dog, (l.), wearing a golden collar inscribed "Wellington," attacks Napoleon head-on and prepares to leap for his throat. Although Napoleon struggles to escape, he is clearly no match for the two larger, more powerful, animals. Lying on the ground in front of this scene is a paper upon which is written "French Policy/ Fraud Cruelty/& Plunder." The Russian Bear and the English Bull Dog join together to attack Napoleon, represented here with the body of a monkey and a human head. The Bear stands behind Napoleon and grips his flailing arms with large paws, while his teeth rip into the cocked hat on top of Napoleon's head. The Bull Dog, (l.), wearing a golden collar inscribed "Wellington," attacks Napoleon head-on and prepares to leap for his throat. Although Napoleon struggles to escape, he is clearly no match for the two larger, more powerful, animals. Lying on the ground in front of this scene is a paper upon which is written "French Policy/ Fraud Cruelty/& Plunder." Published by William Holland. In her description of this image, Mary George notes that this sheet was one of the first prints dealing with the invasion of Russia. By mid-July of 1812, England and Russia had signed a peace treaty, and on 22 August, the 'Gazette' reported that English naval forces helped to defend Riga. 1812-08-24 Caption: London Pub August 24th 1812 by William Holland No 11 Cockspur St. Verse: "Dame Mischief my say "Spare my Monkey good Sirs"/ But I'll tell you what's best to be done/ The Villain delights in such mischievous stirs/ That 'tis wisest to stop all his Fun/ So Bruin and Growler each play your part/ And worry this troublesome Blade,/ Then Peace shall again delight ev'ry Heart,/ And the Rogue will be robb'd of his Trade.

One of a collection of 11 original tempera drawings on gray board, most signed by Red (pseudonym). One of a collection of 11 original tempera drawings on gray board, most signed by Red (pseudonym). Upright medium folio; margins intact; corner crumpled. Series title supplied by cataloger. London, Ifan Kyrle Fletcher, 1952

composed by Charles W. Glover. Program music; for piano. Color illustration: scene from behind troops firing cannon at ships in a harbor / Lith. of Sarony & Co.

Etching signed and dated by Dujardin. 'Landscape with a naked man lying dead in foreground, a horseman looking down at the body at left, a man carrying spoils at the horse's rear, a clothed body lying face down and a dead horse at right, a troop of cavalry armed with lances in background and galloping away to the left' -- British Museum. Etching signed and dated by Dujardin. 'Landscape with a naked man lying dead in foreground, a horseman looking down at the body at left, a man carrying spoils at the horse's rear, a clothed body lying face down and a dead horse at right, a troop of cavalry armed with lances in background and galloping away to the left' -- British Museum. Oblong, mounted on cream paper, matted; margins severely trimmed; slightly worn. N.Y., Rockman Prints, 1960. Title supplied by cataloger

by Francis H. Brown. For piano. Cover lith. illustration: engraving with red text and blue border and image depicting troops assaulting fortifications during the Mexican War.

Hand-colored engraving by and after Vertue; panoramic view of battle formations of pikemen, personages and incidents in hilly landscape; unicorn, eagle and trophies at bottom, women carrying water jars in foreground Hand-colored engraving by and after Vertue; panoramic view of battle formations of pikemen, personages and incidents in hilly landscape; unicorn, eagle and trophies at bottom, women carrying water jars in foreground Large oblong folio, matted; plate mark, margins intact; clean, creased. London, Parker Gallery, 1950.

Eduard Holst. For piano. Caption title. Color lithographic cover design by Zabel-Worley Co.: naval battle within enframement of draped flags. On p. [8]: advertisement for music published by Oliver Ditson Company.

Hand-colored etched caricature (attribtued to William Heath), published June 5th, 1816; Prince Regent(?) and Prince Leopold of Coburg(?) in tug of war over breeches with Princess Charlotte and Queen Caroline(?). Hand-colored etched caricature (attribtued to William Heath), published June 5th, 1816; Prince Regent(?) and Prince Leopold of Coburg(?) in tug of war over breeches with Princess Charlotte and Queen Caroline(?). Oblong medium folio; plate mark, margins; clean. N.Y., Walter Schatzki, 1973.

Hand-colored engraving, numbered 144, published May 1, 1819; combat in foreground, massed troops on hillside in background, Wellington and officers directing on bluff at left. Hand-colored engraving, numbered 144, published May 1, 1819; combat in foreground, massed troops on hillside in background, Wellington and officers directing on bluff at left. Oblong folio, matted; plate mark, margins intact; clean. London, Spencer, 1952.

Uncolored impression of engraving by John W. Cook after Alexander Sauerweid, published Mar. 1, 1819, with key of battle scene. Uncolored impression of engraving by John W. Cook after Alexander Sauerweid, published Mar. 1, 1819, with key of battle scene. Large oblong folio, matted; plate mark, margins; slightly soiled. London, Parker Gallery, 1952.

One of a pair of copper engravings, by John W. Cook after Alexander Sauerweid, published Mar. 1, 1819; colored impression of battle scene; one accompanied by engraved key. One of a pair of copper engravings, by John W. Cook after Alexander Sauerweid, published Mar. 1, 1819; colored impression of battle scene; one accompanied by engraved key. Large oblong folio, matted; margins trimmed; worn. N.Y., Rockman Prints, 1949.

One of a pair of copper engravings, this one by H.R. Cook after Alexander Sauerweid, published June 18th, 1819; battle scenes; one accompanied by engraved key. One of a pair of copper engravings, this one by H.R. Cook after Alexander Sauerweid, published June 18th, 1819; battle scenes; one accompanied by engraved key. Large oblong folio, matted; margins trimmed; worn. N.Y., Rockman Prints, 1949.

Steel-engraving by Willmore after Jones, published March 21, 1849; panoramic view of field of battle, wounded on ground in front, officer gesturing at center, Duke of Wellington leading officers on right. Steel-engraving by Willmore after Jones, published March 21, 1849; panoramic view of field of battle, wounded on ground in front, officer gesturing at center, Duke of Wellington leading officers on right. Oblong folio, folded; margins intact; clean, creased. New York, Henry L. Bokelman, 1948.

Original watercolor signed and dated 1816 by Heath; panoramic battle scene. Original watercolor signed and dated 1816 by Heath; panoramic battle scene. Large oblong folio; no margins; faded. For engraving by Reeve. London, Parker Gallery, 1969.

Broadside with ballad and 2 wood-engraved illustrations published by 'Pitts, Printer, Toy and Marble Warehouse, 6, Great st, Andrew street, 7 Dials'; one of battle, and one allegorical scene of mounted knight slaying tyrant. [Column 1] First line reads: The Battle of Waterloo: Loud roar'd the dreadful battle... [Column 2] First line reads: The Battle of Waterloo: You sons of Britain list awhile... [Column 3] First line reads: The battle of Waterloo: The ancient men of glory, they are all great men you say.... [Column 4] First line reads: Waterloo: On the sixteenth day of June my boys in Flanders where we lay... Broadside with ballad and 2 wood-engraved illustrations published by 'Pitts, Printer, Toy and Marble Warehouse, 6, Great st, Andrew street, 7 Dials'; one of battle, and one allegorical scene of mounted knight slaying tyrant. [Column 1] First line reads: The Battle of Waterloo: Loud roar'd the dreadful battle... [Column 2] First line reads: The Battle of Waterloo: You sons of Britain list awhile... [Column 3] First line reads: The battle of Waterloo: The ancient men of glory, they are all great men you say.... [Column 4] First line reads: Waterloo: On the sixteenth day of June my boys in Flanders where we lay... Upright folio, matted; margins intact; somewhat yellowed. London, Parker Gallery, 1952.

4th in collection of 4 color aquatints by Sutherland, Havell after Laird, published June 4th, 1836; battle, scene, town and mountains in background. 4th in collection of 4 color aquatints by Sutherland, Havell after Laird, published June 4th, 1836; battle, scene, town and mountains in background. Large oblong folio, matted; some margins trimmed; clean. From 'I.W. Laird's Military Achievements'. London, Parker Gallery, 1965.

Original unsigned watercolor (by Neale); view of distant battle in plains, some mounted offciers etc. in foreground. Original unsigned watercolor (by Neale); view of distant battle in plains, some mounted offciers etc. in foreground. Oblong, matted; no margins. London, Parker Gallery, 1966. Title supplied by cataloger