Lithograph (proof before letters), dated 1819; full-length portrait in uniform and greatcoat, hands clasped behind back, standing on rocky ledge. Lithograph (proof before letters), dated 1819; full-length portrait in uniform and greatcoat, hands clasped behind back, standing on rocky ledge. Large upright folio, matted; margins intact; slightly soiled. title provided by cataloger
Original watercolor signed by Heath; Napoleon and aides mounted, in foreground, courier galloping up in left foreground followed by 2 prisoners, battle in distance. Original watercolor signed by Heath; Napoleon and aides mounted, in foreground, courier galloping up in left foreground followed by 2 prisoners, battle in distance. Small oblong folio, matted; margins; clean, slight foxing. New York, Rockman Prints, 1965.
The print shows Napoleon alone on Elba. When held to the light, another image shows through, depicting crowds of adoring soldiers surrounding the same figure of Napoleon. The print shows Napoleon alone on Elba. When held to the light, another image shows through, depicting crowds of adoring soldiers surrounding the same figure of Napoleon. Published by W. Morgan, 25 Bartletts Bldgs; Holborn, August 10, 1838 Caption: Morgan's Improved Protean Scenery, Napoleon at Elba. This Print at first represents the late Emperor on the Seashore at Evening contemplating his escape from the Island and upon raising the print to the light you will perceive Napoleon's enthusiastic reception on his return at Fontainbleu. Caption: P.S. The 20th Edition of Morgan's Diorama of the Coronation now ready
From portfolio of miscellaneous lithographs by and after Charlet, lithograph by Gihaut frères; mounted Napoleon in foreground, observing infantry on the march in background through country landscape. From portfolio of miscellaneous lithographs by and after Charlet, lithograph by Gihaut frères; mounted Napoleon in foreground, observing infantry on the march in background through country landscape. Small square folio, glued to larger backing sheet; margins trimmed; clean; in blue cloth portfolio, red leather label st. gold, "Charlet, Miscellaneous Lithographs." Paris, Bihn, 1958. title provided by cataloger
1st in suite of 7 unsigned ink sketches of scenes and groups during Napoleonic wars - perhaps Waterloo campaign - and after; mounted Napoleon and staff riding toward left, greeting French troops standing on either side, ridge of hills in background. 1st in suite of 7 unsigned ink sketches of scenes and groups during Napoleonic wars - perhaps Waterloo campaign - and after; mounted Napoleon and staff riding toward left, greeting French troops standing on either side, ridge of hills in background. Oblong, matted; no margins; in red cloth slipcase, red leather label stamped gold "British troops in the field, 1815-1830". London, Parker Gallery, 1969. title provided by cataloger
Original unsigned watercolor sketch by Monten; Napoleon with mounted officers at review or on battlefield. Original unsigned watercolor sketch by Monten; Napoleon with mounted officers at review or on battlefield. Oblong, matted folio; no margins; clean. Munich, auction, 1957. Title and subtitle supplied by cataloger
Colored lithograph by Baillie; full-length portrait in uniform and court mantle, Roi de Rome sitting on corner of throne at left, crowns on table at right. Colored lithograph by Baillie; full-length portrait in uniform and court mantle, Roi de Rome sitting on corner of throne at left, crowns on table at right. Upright medium folio, matted; margins clean. New York, Weyhe, 1943.
Lithograph; Napoleon welcoming Alexander to ornamented pavilion on raft, soldiers in boats at left and in background. Lithograph; Napoleon welcoming Alexander to ornamented pavilion on raft, soldiers in boats at left and in background. Oblong folio, matted; margins trimmed; repaired tears, cleaned. Not contemporay Paris, Bihn, 1952. Title supplied by cataloger
Engraving by Pigeot after Lerouge, dated 1821; Napoleon with aides at left inspecting or addressing Egyptian captives at right, outdoors. Engraving by Pigeot after Lerouge, dated 1821; Napoleon with aides at left inspecting or addressing Egyptian captives at right, outdoors. Small oblong folio; margins intact; margins slightly soiled. Paris, Bihn, 1952.
Lithograph by and after Raffet signed and dated 1827; Napoleon standing on battlefield, left hand resting on broken fence-post or palisade, wounded in foreground. Lithograph by and after Raffet signed and dated 1827; Napoleon standing on battlefield, left hand resting on broken fence-post or palisade, wounded in foreground. Upright folio; margins intact; soiled. South Lincoln, Mass., Maroni, 1962.
In exile, Napoleon is shown in contemplation watching the sun either rise or set. He stands in a three-quarters pose, with his back to the viewer and is shown to be portly as he was in later life. From his vantage point on the seaside cliff, he stares into the ocean while he cups his chin in his right hand, which is supported at the elbow by his left arm. On the ledge behind him are a stylus, a notebook, and a large bunch of papers that show evidence of writing. This image is neither a caricature or a satire. Instead it represents the abdicated French emperor thinking of the end of his empire (sunset) or hatching a plot for his return (sunrise). In exile, Napoleon is shown in contemplation watching the sun either rise or set. He stands in a three-quarters pose, with his back to the viewer and is shown to be portly as he was in later life. From his vantage point on the seaside cliff, he stares into the ocean while he cups his chin in his right hand, which is supported at the elbow by his left arm. On the ledge behind him are a stylus, a notebook, and a large bunch of papers that show evidence of writing. This image is neither a caricature or a satire. Instead it represents the abdicated French emperor thinking of the end of his empire (sunset) or hatching a plot for his return (sunrise). The sheet is not dated. Printed Signature: Dessiné et Gravé par Delaistre
Original sepia ink and wash drawing (by Lami?), unsigned; Napoleon sighting along cannon, artiller officer and men standing at either side. Original sepia ink and wash drawing (by Lami?), unsigned; Napoleon sighting along cannon, artiller officer and men standing at either side. Oblong, mounted on white board; margins severely trimmed; clean. New York, Rockman Prints, 1948.
Colored aquatint; Napoleon sighting along cannon on heights overlooking town and river in right background, officers and soldiers nearby. Colored aquatint; Napoleon sighting along cannon on heights overlooking town and river in right background, officers and soldiers nearby. Small oblong folio; plate mark, margins intact; clean; from Franck collection. Paris, Paul Roulleau, 1958.
Print depicts Napoleon standing alone, wearing his uniform and looking out of a spyglass. The background is completely blank. Print depicts Napoleon standing alone, wearing his uniform and looking out of a spyglass. The background is completely blank. Not in Broadley
Colored aquatint by J.B. Morret after Garneray; oval bust portrait in court robes. Colored aquatint by J.B. Morret after Garneray; oval bust portrait in court robes. Upright folio, matted; margins trimmed; clean. New York, Weyhe, 1943.
Ink and wash drawing by Auvrest, in the manner of a penmanship display, copied from a colored stipple engraving by N. Schenker (FrBP1801-mf-2). Equestrian portrait of Napoleon riding to the left Ink and wash drawing by Auvrest, in the manner of a penmanship display, copied from a colored stipple engraving by N. Schenker (FrBP1801-mf-2). Equestrian portrait of Napoleon riding to the left Upright folio, matted; margins trimmed; clean. Paris, Bihn, 1952.
Hand-colored imagerie-type engraved; illustration at top of Napoleon conducting Emperor Francis II to straw hut at left, carriage and attendants waiting at right; 4 illustrations below of equestrian military portraits: Prince Lichtenstein; Constantin Paulowitz; Emperor Alexandre Paulowitz; Prince Repnin. Hand-colored imagerie-type engraved; illustration at top of Napoleon conducting Emperor Francis II to straw hut at left, carriage and attendants waiting at right; 4 illustrations below of equestrian military portraits: Prince Lichtenstein; Constantin Paulowitz; Emperor Alexandre Paulowitz; Prince Repnin. Small oblong folio; margins trimmed; soiled. Paris, Paul Roulleau, 1960
Etching by Nargeot after Delaroche, printed by Salmon; oval half-length portrait in uniform, hatless, seated. Etching by Nargeot after Delaroche, printed by Salmon; oval half-length portrait in uniform, hatless, seated. Small upright folio; plate mark, margins intact. Presented, 1986, by Alan Trueblood.
Color stipple engraving by Louis Rados, 1810, after Bosio; full-length portrait in uniform and hat, hand thrust in waistcoat, battle in landscape background; vignette of arms in lower margin. Color stipple engraving by Louis Rados, 1810, after Bosio; full-length portrait in uniform and hat, hand thrust in waistcoat, battle in landscape background; vignette of arms in lower margin. Large upright folio; matted giant folio; margins trimmed; margins soiled. Paris, Franck auction, 1955.
Steel-engraving by Louis after Delaroche; 3/4-length portrait in uniform, facing left, standing by desk with dispatch-case and documents, chair at right. Steel-engraving by Louis after Delaroche; 3/4-length portrait in uniform, facing left, standing by desk with dispatch-case and documents, chair at right. Large upright folio; plate mark, margins intact; yellowed.
Colored stipple-engraving (proof?); full-length portrait in uniform, arms fold, facing left, outdoors; small figures of troops marching in background. Colored stipple-engraving (proof?); full-length portrait in uniform, arms fold, facing left, outdoors; small figures of troops marching in background. Large upright folio, matted; plate mark, margins intact; slightly worn and soiled. N.Y., Weyhe, 1943.
Line- and stipple-engraving; profile bust portrait in uniform and hat, facing left. Line- and stipple-engraving; profile bust portrait in uniform and hat, facing left. Small upright; plate mark, margins; foxed. Subtitle supplied by cataloger. N.Y., Rockman Prints, 1961.
Hand-colored steel-engraving by Richomme, 1835, after Gérard, 1803; half-length full-front portrait in uniform, hatless. Hand-colored steel-engraving by Richomme, 1835, after Gérard, 1803; half-length full-front portrait in uniform, hatless. Small upright folio, matted; margins trimmed; yellowed, foxed. Newport, Hoffman sale, 1944.
Line-lithographic plate from book; 3/4-length portrait in uniform, hatless, one arm behind back. Line-lithographic plate from book; 3/4-length portrait in uniform, hatless, one arm behind back. Upright; margins intact; edges yellowed. Presented, 1986, by Alan Trueblood.
Original pencil drawing signed and dated 1837 by Roentgen; profile bust portrait of Napoleon in uniform and hat, facing right, star above. Original pencil drawing signed and dated 1837 by Roentgen; profile bust portrait of Napoleon in uniform and hat, facing right, star above. Margins intact; clean. Title supplied by cataloger. N.Y., Rockman Prints, 1961.
Steel-engraving by A. Lefèvre; bust portrait in uniform, hatless. Steel-engraving by A. Lefèvre; bust portrait in uniform, hatless. Small upright folio; plate mark, margins intact. Presented, 1986, by Alan Trueblood.
Engraved plate by and after Charlet, printed by Lesauvage; 9 vignette illustrations of Napoleon in various poses, in uniform. Engraved plate by and after Charlet, printed by Lesauvage; 9 vignette illustrations of Napoleon in various poses, in uniform. Oblong; margins trimmed; slightly soiled. Title supplied by cataloger. South Lincoln, Mass., Maroni, 1962.
Lithograph, numbered 6, by and after Bellangé, dated 1834 by artist; Napoleon followed by 2 aides, riding through battlefield. Lithograph, numbered 6, by and after Bellangé, dated 1834 by artist; Napoleon followed by 2 aides, riding through battlefield. Small oblong folio, mounted on buff paper; margins intact; 2 marginal spots. Zürich, August Laube, 1960.
Closely based on the hieroglyphic portrait by Voltz, this image has been enlarged from the original German print, and more finely defined. As in the original, Napoleon faces left and stares ahead with determination. His profile, topped by a crouching eagle that takes the shape of his hat, is made up of contorted corpses. At his neck, the red band of his uniform is made into the Red Sea (a sea of blood originally) in which a ship sails just above the 'cuff' of his epaulette. The epaulette takes the form of a grasping hand which is inscribed with the the initial R (for Regent), motto Honi Soit, and the initials A, R, P, and S. The green fabric of the uniform is dotted with crossed swords indicating decisive battles. Significantly the battle of Erfurt, a victory for Napoleon is highlighted in red and misspelled Ehrefort (in English--Honor-lost). Other locations featured on the map/uniform are the main Eastern European rivers, the Rhine, Weser, Elbe, Oder and the Weichsel R. A large spider in the middle of her web takes the place of the Legion of Honor and commands the landscape that is torso of Napoleon's bust. Closely based on the hieroglyphic portrait by Voltz, this image has been enlarged from the original German print, and more finely defined. As in the original, Napoleon faces left and stares ahead with determination. His profile, topped by a crouching eagle that takes the shape of his hat, is made up of contorted corpses. At his neck, the red band of his uniform is made into the Red Sea (a sea of blood originally) in which a ship sails just above the 'cuff' of his epaulette. The epaulette takes the form of a grasping hand which is inscribed with the the initial R (for Regent), motto Honi Soit, and the initials A, R, P, and S. The green fabric of the uniform is dotted with crossed swords indicating decisive battles. Significantly the battle of Erfurt, a victory for Napoleon is highlighted in red and misspelled Ehrefort (in English--Honor-lost). Other locations featured on the map/uniform are the main Eastern European rivers, the Rhine, Weser, Elbe, Oder and the Weichsel R. A large spider in the middle of her web takes the place of the Legion of Honor and commands the landscape that is torso of Napoleon's bust. Published by R. Ackermann, 101, Strand, London. The name and location of the publisher is printed under both the portrait and the text. Inscription: NAPOLEON The First, and Last, by the Wrath of Heaven Emperor of the Jacobins, Protector of the Confederation of Rogues, Mediator of the Hellish League, Grand Cross of the Legion of Horror, Commander in Chief of the Legions of Skeletons left at Moscow, Smolensk, Leipzig, &c. Head Runner of Runaways, Mock High-Priest of the Sanhedrim, Mock Prophet of Mussulmen, Mock Pillar of the Christian Faith, Inventor of the Syrian Method of disposing of his own Sick by sleeping Draughts, or of captured Enemies by the Bayonet; First Grave-Digger for burying alive; Chief Gaoler of the Holy Father and of the King of Spain, Destroyer of Crowns, and Manufacturer of Counts, Dukes, Princes and Kings; Chief Douanier of the Continental System, Head Butcher of the Parisian and Toulonese Massacres, Murderre of Hoffer, Palm, Wright, nay, of his own Prince the noble and virtuous Duke of Enghein, and of a thousand others; Kidnapper of Ambassadors, High-Admiral of the Invasion Praams, Cup-Bearer of the Jaffa Poison, Arch-Chancellor of Waste-Paper Treaties, Arch-Treasurer of the Plunder of the World, the Sanguinary Coxcomb, Assassin and Incendiary......to MAKE PEACE WITH!!! This Hieroglyphic portrait of the DESTROYER is faithfully copied from a German Print, with the Parody of his assumed Titles. The Hat of the Destroyer represents a discomfited French Eagle, maimed and crouching, after his Conflict with the Eagles of the North. His Visage is composed of the Carcases of the Victims of his Folly and Ambition, who perished on the Plains of Russia and Saxony. His Throat is encircled with the Red Sea, in Allusion to his drowned Hosts. His Epaulette is a Hand, leading the Rhenish Confederation, under the flimsy symbol of a Cobweb. The Spider is an Emblem of the Vigilance of the Allies, who have inflicted on that Hand a deadly Sting! Inscription: Harrison & Leigh, Printers, 373, Strand.
Colored aquatint (by Fr. Arnold after H. Dahling); full-length portrait, arms folded, landscape background. Colored aquatint (by Fr. Arnold after H. Dahling); full-length portrait, arms folded, landscape background. Upright folio, matted; margins entirely trimmed away; clean. Title supplied by cataloger. New York., Rockman Prints, 1948.
