Colored aquatint; full-length portrait in uniform, facing left, arms folded, outdoors. Colored aquatint; full-length portrait in uniform, facing left, arms folded, outdoors. Small upright folio; plate mark, margins intact; slightly worn and foxed.

Steel-engraving by Goutière after Sandoz; oval bust portrait in uniform, hatless. Steel-engraving by Goutière after Sandoz; oval bust portrait in uniform, hatless. Small upright folio; plate mark, margins; clean. Presented, 1986, by Alan Trueblood.

Inspired by the German hieroglyphic portrait of Napoleon by Voltz, this broadside shows a bust of Napoleon (reversed compositionally) comprised of symbols representing his horrible deeds. The text printed in bold letters under the bust explains the nefarious meaning of each element of this emblematic representation. Here, Napoleon's cocked hat has been transformed into a crowing and startled Gallic cock that spreads its wings in imitation of the outline-form of the famous hat. Two skulls imprinted with N. and B., Napoleon's initials, are "branded" on his left cheek, facing the viewer. Next, a serpent devouring its own tail circles his neck. The braided epaulette on the right shoulder of his jacket has been transformed into a golden hand grasping a dagger. Attached to this is a gold chain that takes the place of the braid on the breast of the uniform. The spotted pelt of a leopard is wrapped around the shoulders of this travestied portrait so that the paw of the animal appears on the left shoulder roughly where the left epaulette ought to be. This paw, claws out, holds a golden scepter topped with an imperial eagle and terrestrial globe. On his chest, two medals side by side--a heart overflowing with ambition and the medal of the Legion of Honor--decorate his jacket. Directly under the medals, a burst of flames laps upwards and threatens to consume the bust. The total effect of this composition is awkward when compared to other hieroglyphic portraits. Yet, because the image is so strikingly odd, and because the text is so prominent, it catches the viewer's attention. Inspired by the German hieroglyphic portrait of Napoleon by Voltz, this broadside shows a bust of Napoleon (reversed compositionally) comprised of symbols representing his horrible deeds. The text printed in bold letters under the bust explains the nefarious meaning of each element of this emblematic representation. Here, Napoleon's cocked hat has been transformed into a crowing and startled Gallic cock that spreads its wings in imitation of the outline-form of the famous hat. Two skulls imprinted with N. and B., Napoleon's initials, are "branded" on his left cheek, facing the viewer. Next, a serpent devouring its own tail circles his neck. The braided epaulette on the right shoulder of his jacket has been transformed into a golden hand grasping a dagger. Attached to this is a gold chain that takes the place of the braid on the breast of the uniform. The spotted pelt of a leopard is wrapped around the shoulders of this travestied portrait so that the paw of the animal appears on the left shoulder roughly where the left epaulette ought to be. This paw, claws out, holds a golden scepter topped with an imperial eagle and terrestrial globe. On his chest, two medals side by side--a heart overflowing with ambition and the medal of the Legion of Honor--decorate his jacket. Directly under the medals, a burst of flames laps upwards and threatens to consume the bust. The total effect of this composition is awkward when compared to other hieroglyphic portraits. Yet, because the image is so strikingly odd, and because the text is so prominent, it catches the viewer's attention. This sheet is not signed or dated. George attribues the publication of this sheet to 'John Fairburn, junior, 4 Fountain Court Minories.' She also suggests that it may have been issued in April of 1815; Broadley proposes May of the same year. Caption: The Hat of Napoleon represents the Gallic Cock, his wings expanded, and crowing confident of success.---The Initial of his Name is branded on his Face, as a mark of Infamy.---His Throat is encircled with a Serpent, signifying that he who rises up against his lawful Sovereign, encounters with a Serpent and shall meet with venomous and deadly repulses.---His Coat is embroidered with a Chain, representing the chain of incidents of Tyranny and Slavery, which many nations have experienced and groaned under by his boundless ambition.---His Epaulette is a Hand grasping a Dagger, an emblem of Usurpation, Assassination, and Horror.---On his Breast is a Heart, overflowing with Ambition to regain his lost Territory, and make the world bend under his Yoke.---Around his Body is a Leopard's Skin; the paw of the Leopard grasps a Sceptre, an emblem of an incorrigible and crafty Villain, the Skin containing such spots as no art can remove or whiten.---His Figure is enveloped in Flame, figurative of the horrors of War and Bloodshed.

Line- and stipple-engraving by F.A. Brückner after Point; round profile bust portrait in uniform, facing left. Line- and stipple-engraving by F.A. Brückner after Point; round profile bust portrait in uniform, facing left. Small upright, mounted on cream paper; plate mark, margins. N.Y., Rockman Prints, 1961.

Engraving by Tassaert after Trezel, from book; bust portrait in uniform and hat. Engraving by Tassaert after Trezel, from book; bust portrait in uniform and hat. Upright; margins intact; foxed. Presented, 1986, by Alan Trueblood.

Engraving by and after Jéhotte; half-length portrait in uniform, hatless, right hand inside waistcoat; view of town below. Engraving by and after Jéhotte; half-length portrait in uniform, hatless, right hand inside waistcoat; view of town below. Upright folio; plate mark, margins; margins worn and stained. New York, Rockman Prints, 1961.

In this small, precise satire, Napoleon (center) reaches out to light a cannon fuse. His target, the city of Toulon, is visable at the left of the image and is indicated by church spires and the fortified wall. Cannon balls fly through the air, hitting their intended targets. Several wounded French soldiers are scattered around the scene, while under the tricolor Napoleon attempts to wage war single-handedly. A general (r.) stands behind Napoleon and helps himself to a pinch of snuff while surveying the battle. etching and mezzotint In this small, precise satire, Napoleon (center) reaches out to light a cannon fuse. His target, the city of Toulon, is visable at the left of the image and is indicated by church spires and the fortified wall. Cannon balls fly through the air, hitting their intended targets. Several wounded French soldiers are scattered around the scene, while under the tricolor Napoleon attempts to wage war single-handedly. A general (r.) stands behind Napoleon and helps himself to a pinch of snuff while surveying the battle. etching and mezzotint Published by Thomas Tegg, 1814-11-17. British Museum, BM 12457. George notes, 'The capture of Toulon was largely due to Napoleon as second in command of the artillery under General du Teil.' Caption: London, Published by Thomas Tegg, No 111, Cheapside, Nov. 17, 1814

Stipple engraving by Meyer after Rubidge; illustration above of half-length portrait of Napoleon on death-bed; illustration below of grave-site. Stipple engraving by Meyer after Rubidge; illustration above of half-length portrait of Napoleon on death-bed; illustration below of grave-site. Upright medium folio, matted; margins trimmed; cleaned. New York, Henry L. Bokelman, 1948.

29th in collection of 102 hand-colored (except for 3) engraved plates by Campe; winter scene, mounted Napoleon and staff riding in foreground, army and dead soldiers in background. 29th in collection of 102 hand-colored (except for 3) engraved plates by Campe; winter scene, mounted Napoleon and staff riding in foreground, army and dead soldiers in background. Small oblong folio and medium folio, unbound; in blue cloth portfolio, red cloth label stamped black.

Colored aquatint by T. Sutherland after Heath; Napoleon, his wife, and suite approaching naval officers at left on deck of ship. Colored aquatint by T. Sutherland after Heath; Napoleon, his wife, and suite approaching naval officers at left on deck of ship. Oblong folio, matted; margins trimmed close; soiled. London, Parker Gallery, 1952.

Fully decorated and wearing his military uniform, Napoleon stands on a cliff over looking the ocean. Although in exile, he is represented in a semi-heroic manner: hands behind his back, he stands proud and ready to be recalled to France. In addition, the bank of clouds, choppy sea and the wind that blows his coat back all give the image a wistful and romantic feel. Fully decorated and wearing his military uniform, Napoleon stands on a cliff over looking the ocean. Although in exile, he is represented in a semi-heroic manner: hands behind his back, he stands proud and ready to be recalled to France. In addition, the bank of clouds, choppy sea and the wind that blows his coat back all give the image a wistful and romantic feel. This sheet is not signed or dated.

One of a collection of 16 original matted pencil sketches heightened with chalk, stamped with monogram of E(rnest) C(rofts). Napoleon from behind. Study for painting One of a collection of 16 original matted pencil sketches heightened with chalk, stamped with monogram of E(rnest) C(rofts). Napoleon from behind. Study for painting Folio, unbound, matted; in maroon portfolio stamped gold; clean. N.Y., Argosy, 1965.

1st in collection of 92 original watercolors signed by Rousselot; Napoleon, on dappled horse facing left, inspecting mounted Garde troops, Arc de Triomphe in background. 1st in collection of 92 original watercolors signed by Rousselot; Napoleon, on dappled horse facing left, inspecting mounted Garde troops, Arc de Triomphe in background. Folio, unbound; in green leather and green board portfolio case stamped and tooled gold; clean. Paris, André Mathiot, 1957. title provided by cataloger

Watercolor signed bottom left: 'D.S. Charlet' (possibly by Nicolas Toussaint Charlet); Napoleon seated with soldier in darkened room, young boy painting his profile on wall cast by candlelight Watercolor signed bottom left: 'D.S. Charlet' (possibly by Nicolas Toussaint Charlet); Napoleon seated with soldier in darkened room, young boy painting his profile on wall cast by candlelight Oblong, matted; no margins; clean. New York, Rockman Prints, 1952. title, subtitle provided by cataloger

Aquatint; Napoleon in court dress and surrounded by allegorical and military figures, clouds etc., greeting Duke of Reichstadt, soldiers looking on in foreground. Aquatint; Napoleon in court dress and surrounded by allegorical and military figures, clouds etc., greeting Duke of Reichstadt, soldiers looking on in foreground. Oblong medium folio; plate mark, margins trimmed; yellowed. New York, Rockman Prints, 1962.

composed for the piano forte, and dedicated to Col. Robert M. Lee, by Gustave Blessner. Cover title. Lithographic cover illustration by A. Koellner, printed by P.S. Duval: Napoleon, mounted, with officers, directing soldiers in battle. Price 50 Cts.

Stipple-engraving by E. Mayer after Lampe; oval 3/4-length portrait in uniform, right hand resting on military plan. Stipple-engraving by E. Mayer after Lampe; oval 3/4-length portrait in uniform, right hand resting on military plan. Upright medium folio; margins; worn, repaired tears. N.Y., Argosy, 1955.

Steel-engraving (from book) by J.C. Armytage after Orchardson; Napoleon at right standing on deck at sea, group of officers in left background. Steel-engraving (from book) by J.C. Armytage after Orchardson; Napoleon at right standing on deck at sea, group of officers in left background. Small oblong folio; margins; clean.

Original gouache by Fuchs (after painting by Steinlen); Napoleon, mounted, fleeing from battle, making way through mass of retreating soldiers, wounded and dead, two British solders, one a highlander, watching on left Original gouache by Fuchs (after painting by Steinlen); Napoleon, mounted, fleeing from battle, making way through mass of retreating soldiers, wounded and dead, two British solders, one a highlander, watching on left Oblong folio; margins; margins stained. New York, Walter Schatzki, 1957.

Colored line and stipple engraving by H. B. Hall after Stewart; half-length portrait in uniform, hatless. Colored line and stipple engraving by H. B. Hall after Stewart; half-length portrait in uniform, hatless. Upright medium folio, matted; margins intact; cleaned. title: NAPOLEON LOUIS BONAPARTE. NÉ A PARIS. LE 20 AVRIL 1808 caption: Stewart del. caption: H.B. Hall

Lithograph by and after D'Orsay, printed by Lemercier, Benard et C., dated 1839 by artist; 3/4-length profile portrait in uniform, hatless. Lithograph by and after D'Orsay, printed by Lemercier, Benard et C., dated 1839 by artist; 3/4-length profile portrait in uniform, hatless. Margins; severe foxing. title: Napoléon Louis P. printed signature: A D'Orsay fecit Oct 1839 caption: Imp. de Lemercier, Benard et C. annotation: Charles Louis Napoléon, (Illeg) Napoléon III. 1808 - 1873 annotation: Zeitgenossische (?) Original - Lithographie von A. d'Orsay, 1839.

Hand-colored line- and stipple-engraving by G. Zatta after B(ozio); full-length portrait in uniform, Invalides in background. Hand-colored line- and stipple-engraving by G. Zatta after B(ozio); full-length portrait in uniform, Invalides in background. Upright folio, matted; plate mark, margins trimmed; clean. Paris, Franck auction, 1955.

1st in collection of 32 colored and 2 uncolored large aquatint pl. of campaign, battle and other scenes by and after Rugendas, one engraved by Küpfer; panoramic view of vast army on plain, officers circling Napoleon in foreground, women and children in left foreground; descriptive notes in French below. 1st in collection of 32 colored and 2 uncolored large aquatint pl. of campaign, battle and other scenes by and after Rugendas, one engraved by Küpfer; panoramic view of vast army on plain, officers circling Napoleon in foreground, women and children in left foreground; descriptive notes in French below. Large oblong folio, matted giant folio; plates I-XX in orange marble board portfolio, plates XXI ff. in blue marble board portfolio, black cloth backs; clean. Paris, Paul Roulleau, 1951.

Colored engraving by Thiebaut after Desrais; full-length portrait in court dress. Colored engraving by Thiebaut after Desrais; full-length portrait in court dress. Upright medium folio, matted; margins trimmed; slightly foxed. New York, Harry H. Hymes, 1945.

Stipple-engraving by Simon after Vernet; equestrian portrait, facing left, allegorical figure with wreath hovering above, background of tent encampment. Stipple-engraving by Simon after Vernet; equestrian portrait, facing left, allegorical figure with wreath hovering above, background of tent encampment. Upright folio, matted; margins trimmed; clean. New York, Henry L. Bokelman, 1948.

Raised on a pole, Napoleon's scowling head occupies the center of the image. A ring of entwined serpents frames his head over which the words "POLAR STAR" are inscribed. George notes that the serpents take the place of the laurel leaves used in the original engraving, and that the pole on which Napoleon's head is here impaled further vilifies the icon. Texts describing Napoleon's evil deeds emanate like rays from Napoleon's bust. In the upper right of this series of rays, a fat smoking Dutchman astride a barrel empties its contents onto the star. The barrel is inscribed "Dutch Comet" and contains liquid. At the top of the image, slightly off-center, the bust of a horned Devil grins from underneath a crown inscribed "Damnation." Two shields are placed under the bust: the one on the left bears an anatomically accurate heart and is labeled "Heart of a Tyrant." The shield on the right bears the image of a "Vulture," which takes the place of the Hapsburg double eagle. In addition to the shields, a scourge (l.) and a pitch fork (r.) also spring from the base of the Devil's head. Two eagles at the bottom of the sheet use their wings to support a swag labeled "Napoleon Le Grand." Behind the eagles, a half-globe rises from the bottom of the image. The globe is inaccurately drawn and colored in its representation of Mediterranean Europe. To the left and right of this rising globe, pikes, axes and eagle standards are arranged in clusters. The group on the right is decked with a banner labeled "Flags manufactured for the Empress." The print is in good condition. It shows some discoloration with age and has mended tears on the lower right edge. Raised on a pole, Napoleon's scowling head occupies the center of the image. A ring of entwined serpents frames his head over which the words "POLAR STAR" are inscribed. George notes that the serpents take the place of the laurel leaves used in the original engraving, and that the pole on which Napoleon's head is here impaled further vilifies the icon. Texts describing Napoleon's evil deeds emanate like rays from Napoleon's bust. In the upper right of this series of rays, a fat smoking Dutchman astride a barrel empties its contents onto the star. The barrel is inscribed "Dutch Comet" and contains liquid. At the top of the image, slightly off-center, the bust of a horned Devil grins from underneath a crown inscribed "Damnation." Two shields are placed under the bust: the one on the left bears an anatomically accurate heart and is labeled "Heart of a Tyrant." The shield on the right bears the image of a "Vulture," which takes the place of the Hapsburg double eagle. In addition to the shields, a scourge (l.) and a pitch fork (r.) also spring from the base of the Devil's head. Two eagles at the bottom of the sheet use their wings to support a swag labeled "Napoleon Le Grand." Behind the eagles, a half-globe rises from the bottom of the image. The globe is inaccurately drawn and colored in its representation of Mediterranean Europe. To the left and right of this rising globe, pikes, axes and eagle standards are arranged in clusters. The group on the right is decked with a banner labeled "Flags manufactured for the Empress." The print is in good condition. It shows some discoloration with age and has mended tears on the lower right edge. Published by R. Ackermann. George describes this satire as a 'travesty of a French print, an apotheosis of Napoleon by Tardieu after Dabos.' Rowlandson, the engraver to whom this print is ascribed, has altered the image to include diabolic elements signalling Napoleon's evil affinity and condemnation to Hell. [1813-12-21] Caption: Astre brillant, immense, il éclaire, il feconde, /Et seul fait, a son gré, tous les destins du monde, Vigée. Caption: To be had at R. Ackermann's 101 Strand, London Inscription: Inventée par Dabos, Alex Tardieu Effigiem Delt., Deposée à la Biblothèque Impereale. Annotation: c1814, 7-50 Collector's Mark: A List: "Assisting in the Assassination of Louis the 16th my Benefactor" "Murdering the Citizens of Paris under Roberspierre" "Murdering the Citizens of Toulon" "Insulting the Pope robbing and plundering the Churches &c., &c." "Poisoning my own Sick Soldiers in the Hospital at Jaffa" "Murdering the Duke Danguilme" "Treacherously betraying the king of Spain and his family" "Murdering the inhabitants of Madrid in Cold Blood." "Murdering Captain Wright in the Temple at Paris" "Marrying two Wives and intriguing with the Daughter of one of them" "The Murder of Palm of Hoffer &c., &c." "Leading 500,000 Frenchmen to perish in Russia by the Severity of the Season 1812" "Losing another similar Army the following Year in Germany 1813" "Writing Lying Bulletins" "Losing all the Colonies, Commerce and Shipping" "and for all these brilliant Exploits am now to be sent headlong to the Devil"

Hand-colored engraving; full-length portrait in uniform, arms folded, facing left. Hand-colored engraving; full-length portrait in uniform, arms folded, facing left. Upright, mounted on folio white paper; margins; clean.

Colored lithograph; half-length portrait of reclining corpse in uniform and hat. Colored lithograph; half-length portrait of reclining corpse in uniform and hat. Oblong, mounted on folio ivory paper; margins; 1 corner cut off, slightly worn. Title supplied by cataloger. New York, Henry L. Bokelman, 1948.

Sepia photogravure plates by Hanfstaengel after Faber du Faur; Napoleon, mounted, riding past cheering troops in desert. Sepia photogravure plates by Hanfstaengel after Faber du Faur; Napoleon, mounted, riding past cheering troops in desert. Small oblong folio; margins intact; clean.

Hand-colored engraving (by Geissler); Napoleon seated at table in center, studying map with aides, soldiers relaxing, chopping tree etc., in foreground and background. Hand-colored engraving (by Geissler); Napoleon seated at table in center, studying map with aides, soldiers relaxing, chopping tree etc., in foreground and background. Small oblong folio, mounted on paper; margins severely trimmed; yellowed, creased. Paris, Grangié sale, 1967.