In this battle scene, the cheerful British army trounces the ragged French army now in rapid retreat. The hearty figures of the British soldiers contrast with the thin bodies and grotesquely exaggerated features of their French counterparts. In the left foreground, a British soldier rescues a side of roast beef from a French soldier who has attempted to swap the meat for "soup maigre." At the middle of the melee, an English soldier jabs his bayonet into the bottom of Marshal Jourdan, a French officer. Jourdan jumps high into the air crying; "Oh My Batoon." The English soldier replies; "It's oh your bottom I think." Nearby, a Highlander, wearing a kilt, confiscates a cannon. In the left of the sheet, Wellington sits astride his horse and enjoys the scene from his perch on a hill. A pendant scene to Wellington, Joseph Bonaparte (upper r.), riding a mule, provides a counterpoint to Wellington's heroic figure. In this battle scene, the cheerful British army trounces the ragged French army now in rapid retreat. The hearty figures of the British soldiers contrast with the thin bodies and grotesquely exaggerated features of their French counterparts. In the left foreground, a British soldier rescues a side of roast beef from a French soldier who has attempted to swap the meat for "soup maigre." At the middle of the melee, an English soldier jabs his bayonet into the bottom of Marshal Jourdan, a French officer. Jourdan jumps high into the air crying; "Oh My Batoon." The English soldier replies; "It's oh your bottom I think." Nearby, a Highlander, wearing a kilt, confiscates a cannon. In the left of the sheet, Wellington sits astride his horse and enjoys the scene from his perch on a hill. A pendant scene to Wellington, Joseph Bonaparte (upper r.), riding a mule, provides a counterpoint to Wellington's heroic figure. Published by Thomas Tegg, 1813-07-07. This print was published in celebration of the British victory at Vittoria. Disregarding heavy losses on both sides, Cruikshank depicts the battle as a day's outing for the British army with an easy victory over the french troops. According to George; 'News of Vittoria was given in an Extraordinary Gazette on 3 July; on 5, 6, and 7 July London was illuminated, and on 7 July there was public thanksgiving at Saint Paul's.' Caption: Pud. July 7th 1813 by T. Tegg III Cheapside Dialogue: "Oh! Jean Bull vill you not let me have one little bit of Beef?!? Oh! dear oh! oh! oh! my ___!!" "No, no, I'll be d___d if you take the Roast Beef with you!" "Oh! my Baton!" "It's oh your bottom I think." "Stand out o' the way loons whilst I tak your Last Cannon." "O vat de devil vill Brother Nap say?"

2nd in pair of colored aquatints by Sutherland and Havell after Heath, published June 4th, 1815; large battle scene on rolling plain, town and mountains in background. 2nd in pair of colored aquatints by Sutherland and Havell after Heath, published June 4th, 1815; large battle scene on rolling plain, town and mountains in background. Large oblong folio, matted; plate mark, margins; clean, some wormholes on 1st. London, Spencer, 1952.

Color lithograph; infantry in battle in middle distance and on ridge in background, Union cavalry charging in right foreground. From Portfolio No. 6 of an 8 portfolio set entitled 'Currier & Ives...Engravings For The People Of The Civil War'. Color lithograph; infantry in battle in middle distance and on ridge in background, Union cavalry charging in right foreground. From Portfolio No. 6 of an 8 portfolio set entitled 'Currier & Ives...Engravings For The People Of The Civil War'. Large oblong folio, matted; margins intact; clean. N.Y., Old Print Shop, 1965.

Original pen drawing, unsigned; mounted and dismounted infantry officers in discussion at parade. Original pen drawing, unsigned; mounted and dismounted infantry officers in discussion at parade. Upright; margins; slightly soiled. N.Y., Rockman, 1949.

1st in collection of 4 color aquatints by Sutherland, Havell after Laird, published June 4th, 1836; scene of fierce combat over mountain slopes, British infantry charging at center. 1st in collection of 4 color aquatints by Sutherland, Havell after Laird, published June 4th, 1836; scene of fierce combat over mountain slopes, British infantry charging at center. Large oblong folio, matted; some margins trimmed; clean. From 'I.W. Laird's Military Achievements'. London, Parker Gallery, 1965.

2nd in set of 5 color engraved plates by Harris after Martens 'From a sketch by Capt. Carey, Cape Mounted Rifles', published Septr. 1st, 1852; battle scene, British cavalry charging from right into ravine or valley, officers and wounded in foreground, opposite bank and hills in background. 2nd in set of 5 color engraved plates by Harris after Martens 'From a sketch by Capt. Carey, Cape Mounted Rifles', published Septr. 1st, 1852; battle scene, British cavalry charging from right into ravine or valley, officers and wounded in foreground, opposite bank and hills in background. Large oblong folio, matted; plate marks, margins intact; clean. London, Francis Edwards, 1946.

Engraving published Decr. 3, 1785; mounted officers in left and right foreground, officer standing in center near artillerymen readying cannon, troop formations and battle in rolling countryside in background, tents in hills in right distance. Engraving published Decr. 3, 1785; mounted officers in left and right foreground, officer standing in center near artillerymen readying cannon, troop formations and battle in rolling countryside in background, tents in hills in right distance. See Peter Harrington, 'Images of the Boyne', Irish Sword, Vol. XVIII, Winter 1990, No. 70, pages 57-61. N.Y., Rockman Prints, 1963.

3rd in collection of 3 colored lithographic plates, published Oct. 27th, 1854; lines of British grenadiers storming heights manned by Russians, fortified with cannon; mountains, ships, Black Sea in distance. 3rd in collection of 3 colored lithographic plates, published Oct. 27th, 1854; lines of British grenadiers storming heights manned by Russians, fortified with cannon; mountains, ships, Black Sea in distance. Oblong medium folio, matted; margins intact; clean. London, Parker Gallery, 1952.

1st in collection of 3 colored lithographs by Walker after Norie, printed by Day & Son, published Nov. 10, 1854; massive battle scene, infantry on left, cavalry in blue on right. 1st in collection of 3 colored lithographs by Walker after Norie, printed by Day & Son, published Nov. 10, 1854; massive battle scene, infantry on left, cavalry in blue on right. Oblong folio, matted; margins trimmed; edges stained.

Color lithograph by Simpson, printed by Day & Son, published Octr. 20th, 1854; panoramic view of battle, showing Highlanders charging up hill. Color lithograph by Simpson, printed by Day & Son, published Octr. 20th, 1854; panoramic view of battle, showing Highlanders charging up hill. Oblong folio, matted; margins intact; clean. London, Parker Gallery, 1972.

Original photograph by Bingham of oil painting by Vernet; mounted and dismounted soldiers and officers including Prince Napoleon observing battle; wounded soldiers and artillery nearby. Original photograph by Bingham of oil painting by Vernet; mounted and dismounted soldiers and officers including Prince Napoleon observing battle; wounded soldiers and artillery nearby.

One of a collection of 7 numbered hand-colored and uncolored copper engraved plates of battles (after Louis Laguerre). Uncolored impression of another plate with the same title. One of a collection of 7 numbered hand-colored and uncolored copper engraved plates of battles (after Louis Laguerre). Uncolored impression of another plate with the same title. Oblong medium folio, matted; most with plate mark and margins intact; one or two soiled or worn. London, Parker Gallery, 1950.

One of a collection of 7 numbered hand-colored and uncolored copper engraved plates of battles (after Louis Laguerre), this one colored and accompanied by uncolored impression of the same. One of a collection of 7 numbered hand-colored and uncolored copper engraved plates of battles (after Louis Laguerre), this one colored and accompanied by uncolored impression of the same. Oblong medium folio, most with plate mark and margins intact; one or two soiled or worn. London, Parker Gallery, 1955.

One of a collection of 7 humbered hand-colored and uncolored copper engraved plates of battles (after Louis Laguerre). One of a collection of 7 humbered hand-colored and uncolored copper engraved plates of battles (after Louis Laguerre). Oblong medium folio, matted; most with plate mark and margins intact; one or two soiled or worn. London, Parker Gallery, 1955.

8th in collection of 12 (of 13) numbered and un-numbered hand-colored engravings (this one uncolored) by Vendramini after Leveque, published Jany. 1, 1813; battle scene on vast plain, mounted officers on heights in left foreground. 8th in collection of 12 (of 13) numbered and un-numbered hand-colored engravings (this one uncolored) by Vendramini after Leveque, published Jany. 1, 1813; battle scene on vast plain, mounted officers on heights in left foreground. Oblong folio, matted; most with plate mark and margins intact; some slightly soiled. From "Campaigns of the British Army in Portugal...' London, Francis Edwards, 1962.

Color lithograph after Mathews; panoramic view of battle in countryside showing infantry and artillery in action. Color lithograph after Mathews; panoramic view of battle in countryside showing infantry and artillery in action. Large oblong folio, matted; margins intact; slightly soiled. N.Y., Old Print Shop, 1961.

compd. by Adolphe Schubert. Caption title. For piano. Cover title: The Battle of Sobraon. For the Pianoforte by Adolphe Schubert. Pr 2/6. Tinted lithographic cover: British infantry in battle with Sikhs (by J. Brandard?); M. & N. Hanhart, Lith. Printers.

compd. by Adolphe Schubert. Caption title. For piano. Cover title: The Battle of Sobraon. For the Pianoforte by Adolphe Schubert. Pr 2/6. Tinted lithographic cover: British infantry in battle with Sikhs (by J. Brandard?); M. & N. Hanhart, Lith. Printers.

Color lithograph by Ehrgott, Forbiger & Co. after A.E. Mathews of battle scene in April 1862 showing lines of soldiers charging, officers on horseback, canons being fired, and wounded soldiers on the ground, casualty on stretcher being carried by four comrades. Color lithograph by Ehrgott, Forbiger & Co. after A.E. Mathews of battle scene in April 1862 showing lines of soldiers charging, officers on horseback, canons being fired, and wounded soldiers on the ground, casualty on stretcher being carried by four comrades. Oblong folio.

musically photographed by Charles Grobe. For piano. Caption title. Contains programmatic text throughout. Cover lithographic illustration: battle scene.

Color aquatint by Orme, (after Bayley), published Jany. 29, 1822; panoramic view of battle on plain near colonial town, ridge in foreground with massed troops and native men, women and children spectators or refugees. Color aquatint by Orme, (after Bayley), published Jany. 29, 1822; panoramic view of battle on plain near colonial town, ridge in foreground with massed troops and native men, women and children spectators or refugees. Oblong folio, matted; margins severely trimmed; clean. N.Y., Rockman Prints, 1950.

Color aquatint by G. Lewis after Atkinson, published Feb. 2, 1813; view of battle, partly obscured by smoke, on plain, mounted officers in left foreground giving directions, cavalry charging forward at right. Color aquatint by G. Lewis after Atkinson, published Feb. 2, 1813; view of battle, partly obscured by smoke, on plain, mounted officers in left foreground giving directions, cavalry charging forward at right. Large oblong folio, matted; plate mark, margins; yellowed. N.Y., Kennedy, 1952.

musically portrayed by Charles Grobe. For piano. Cover title. Descriptive notes relating events of the battle to musical passages printed between the staves. Cover lith. illustration by Bufford: bird's eye view of the Battle of Roanoke Island with naval squadron attacking island.

One of a collection of 7 numbered hand-colored and uncolored copper engraved plates of battles (after Louis Laguerre), this one colored. One of a collection of 7 numbered hand-colored and uncolored copper engraved plates of battles (after Louis Laguerre), this one colored. Oblong medium folio, matted; most with plate mark and margins intact; one or two soiled or worn. London, Parker Gallery, 1951.

2nd in pair of hand-colored engravings of battle and siege scenes, published June 25, 1781; smoke-filled scene of battle with artillery shells bursting, mounted officers in foreground. 2nd in pair of hand-colored engravings of battle and siege scenes, published June 25, 1781; smoke-filled scene of battle with artillery shells bursting, mounted officers in foreground. Oblong, matted; margins; clean. From 'The Field of Mars...' London, Parker Gallery, 1965.

One of a suite of five hand colored engravings; this one by C. Du Bosc after Laguerre showing battle scene with officers in center foreground, landscape background, battle raging behind. One of a suite of five hand colored engravings; this one by C. Du Bosc after Laguerre showing battle scene with officers in center foreground, landscape background, battle raging behind. London , Parker Gallery, 1955. Large oblong folio, one of four prints, matted; plate marks, margins intact, clean.

One of a pair of hand-colored engravings by Hulett (after Laguerre?) in enframement with trophies at top and bottom; battle on a river plain. [See also: The Battle of Oudenarde.] One of a pair of hand-colored engravings by Hulett (after Laguerre?) in enframement with trophies at top and bottom; battle on a river plain. [See also: The Battle of Oudenarde.] Small upright folio; matted; margins trimmed. 'One of a group of illustrations to a book entitled 'Life and Reign of Queen Anne', as can be ascertained from the traces of letter-press on the verso of the sheets. One possible candidate is 'An Impartial History of the Life and Reign of her late Majesty Queen Anne ... Adorn'd with ... cuts', published by R. Offley in 1744' -- British Museum. London, Parker Gallery, 1972.

Original unsigned watercolor by Heath; central mounted figure of Duke of Brunswick leading charge of uhlans and others. Original unsigned watercolor by Heath; central mounted figure of Duke of Brunswick leading charge of uhlans and others. Small oblong folio, matted; no margins; clean. London, Parker, 1952.

British Museum catalogue: 'A battle between sturdy bears and skinny apes, representing the Russians and French at Pultusk. The apes are armed with pincers, with which they attempt to draw the teeth of the bears; they advance from the right across the river Bug, in which many are drowning. The Russians, with their standard of a double eagle, advance with fixed bayonets against the French. Their leader, not a bear, is encased from waist to ankles in a cask...he points with his saber at the enemy. Behind, another Russian officer shovels French apes into an oven, shaped like a Nissen hut...On the French side, an officer has the head of a cat and the body of a rat, with a collar inscribed Mew, and belt, Rat [Murat]. Napoleon, a rat-officer wearing a feathered bicorne, is astride the branch of a bare tree hanging over the water...Behind the rats advance the heads of Poles, wearing high fur busbies, and supported on tall poles...Above the battle flies a Russian officer with feathered wings and raised sword.' British Museum catalogue: 'A battle between sturdy bears and skinny apes, representing the Russians and French at Pultusk. The apes are armed with pincers, with which they attempt to draw the teeth of the bears; they advance from the right across the river Bug, in which many are drowning. The Russians, with their standard of a double eagle, advance with fixed bayonets against the French. Their leader, not a bear, is encased from waist to ankles in a cask...he points with his saber at the enemy. Behind, another Russian officer shovels French apes into an oven, shaped like a Nissen hut...On the French side, an officer has the head of a cat and the body of a rat, with a collar inscribed Mew, and belt, Rat [Murat]. Napoleon, a rat-officer wearing a feathered bicorne, is astride the branch of a bare tree hanging over the water...Behind the rats advance the heads of Poles, wearing high fur busbies, and supported on tall poles...Above the battle flies a Russian officer with feathered wings and raised sword.' Inscribed 1812 on print British Museum catalogue: 'On 26 December 1806 there was a fierce but indecisive action at Pultusk between the French under Lannes and the Russians under Bennigsen and Buxhowden. Though the French were outnumbered and hampered by mud the Russians continued their retreat. Kamenskoi, the Russian commander in chief, had lost his head before the battle, ordering retreat and hurrying to the frontier. The 47th French Bulletin claimed Pultusk as a complete victory; the Russian official report claimed a complete Russian victory.' Dialogue: Napoleon: I am determined to Beat these brutes in spite of their Teeth Signature: Designed by an Amateur Label(s): Poles or French Palisades Label(s): A batch of real French bread Bux-Oven [Buxhowden] Label(s): Spirited Benn in Gin [Bennigsen] Label(s): Bug-water Label(s): K + Amen + Sky -- [Kamenskoi] Guardian + Angel Label(s): Mew Rat [Murat]

Engraved cover: Central oval contains a bust-length portrait of George Washington in uniform in profile facing his right. Engraved cover: Central oval contains a bust-length portrait of George Washington in uniform in profile facing his right. Above the oval is a garland of flowers, above that a festoon of drapery with a ring and tassel in the center. Below the oval are palm branches and an irregular scroll or ribbon bearing the words, G. Washington/President of the/United States. Portrait is based on an engraving by Joseph Wright from a sketch from life which he made in Trinity Chapel, N.Y. City, in 1790.