1 (of 10) colored aquatint plates by Ruhières after Finart; mounted Prussian courier crossing open field. 1 (of 10) colored aquatint plates by Ruhières after Finart; mounted Prussian courier crossing open field. Small oblong folio, unbound; foxing. Paris, Delacre sale, 1961.
Colored lithograph by C. de Lasteyrie after Marlet; wounded and semi-nude soldiers being helped into wagon on country road. Colored lithograph by C. de Lasteyrie after Marlet; wounded and semi-nude soldiers being helped into wagon on country road. Oblong medium folio, matted; margins intact; margins slightly foxed. London, Redfern (Maggs), 1956.
Double entendre, the natural language of satire, is here used visually and textually. Wellington, dressed in a spotless military uniform stands next to Napoleon, who is seated on a boulder. The backdrop to this scene is a calm ocean; the horizon line is punctuated on the far right by a ship that flies a Union Jack. The crisply engraved lines and meticulous hand coloring are typical of French satires. Typical too is the use of ironic language -- rather than grotesque figural distortions -- to convey the humor of the piece. Using the barbershop and hairdressing as a metaphor for conquest and disfiguration, Wellington offers to give Napoleon's hair a final once over with the curling tongs. Somewhat sardonically, Napoleon complains that he has already been shaved, and does not want to be "put to the irons" [passé au fer]. Wellington holds a pair of curling irons in his right hand and reaches around to grasp Napoleon's epaulette with his left. His face is generally expressionless and flat; although he addresses Napoleon, his eyes gaze off to a point beyond the right border of the image. Napoleon is similarly rendered. Drawn in profile, he stares towards the left border of the sheet. He wears a uniform, but has removed his hat so that Wellington, the barber, can wrap tufts of his hair in curling papers imprinted with French military bulletins. Napoleon is also represented with his right hand tucked into the left side of his uniform in a rhetorical pose that becomes a hallmark of portraits and caricatures alike. The general manner in which Wellington and Napoleon are rendered suggests that the engraver may have been copying their portraits from other engraved portraits. For example, their disconnected gazes, carefully delineated facial features, and contrived poses all indicate that this representation is a pastiche of sources. Double entendre, the natural language of satire, is here used visually and textually. Wellington, dressed in a spotless military uniform stands next to Napoleon, who is seated on a boulder. The backdrop to this scene is a calm ocean; the horizon line is punctuated on the far right by a ship that flies a Union Jack. The crisply engraved lines and meticulous hand coloring are typical of French satires. Typical too is the use of ironic language -- rather than grotesque figural distortions -- to convey the humor of the piece. Using the barbershop and hairdressing as a metaphor for conquest and disfiguration, Wellington offers to give Napoleon's hair a final once over with the curling tongs. Somewhat sardonically, Napoleon complains that he has already been shaved, and does not want to be "put to the irons" [passé au fer]. Wellington holds a pair of curling irons in his right hand and reaches around to grasp Napoleon's epaulette with his left. His face is generally expressionless and flat; although he addresses Napoleon, his eyes gaze off to a point beyond the right border of the image. Napoleon is similarly rendered. Drawn in profile, he stares towards the left border of the sheet. He wears a uniform, but has removed his hat so that Wellington, the barber, can wrap tufts of his hair in curling papers imprinted with French military bulletins. Napoleon is also represented with his right hand tucked into the left side of his uniform in a rhetorical pose that becomes a hallmark of portraits and caricatures alike. The general manner in which Wellington and Napoleon are rendered suggests that the engraver may have been copying their portraits from other engraved portraits. For example, their disconnected gazes, carefully delineated facial features, and contrived poses all indicate that this representation is a pastiche of sources. This sheet has been attributed to the engraver Saint-Far by Clerc and by the authors of 'Napoleon Im Spiegel der Karikatur.' Dialogue: Wellington: "L'on te disait ne coëffé cependant tu viens encore de recevoir un fameux coup de peigne?" Dialogue: Napoleon: "J'en conviens; je suis un homme rasé!!... ...mais après m'avoir fait la barbe, tout défrise que je suis, je ne veux pas ëtre passé au fer." Inscription: A Paris chez tous les Mds de Nouveautés. Inscription: Déposé au Bureau des Estampes.
Original ink narrative caricature, partially shaded in crayon, signed by de Sta (pseudonym of d’Arsène-Henry de Saint-Alary) (for Chronique Amusante); 9 illustrations of British officers and men on campaign in Africa, with ink manuscript captions. Original ink narrative caricature, partially shaded in crayon, signed by de Sta (pseudonym of d’Arsène-Henry de Saint-Alary) (for Chronique Amusante); 9 illustrations of British officers and men on campaign in Africa, with ink manuscript captions. Upright folio; margins intact; slightly soiled and yellowed. N.Y., Rockman Prints, 1964.
Colored wood-engraved cover illustration; general standing in shed, taking rifle aim at target, aides standing nearby. From Le Pétit Journal, Supplément Illustré, volume 3, no. 83, June 25, 1892, page 201. Colored wood-engraved cover illustration; general standing in shed, taking rifle aim at target, aides standing nearby. From Le Pétit Journal, Supplément Illustré, volume 3, no. 83, June 25, 1892, page 201. Upright folio; margins intact; yellowed. New York, Rockman Prints 1952.
Lithograph by Noël after photograph, printed by Lemercier; 3/4-length portrait in Hungarian court costume with orders; Esterházy arms in bottom margin. Lithograph by Noël after photograph, printed by Lemercier; 3/4-length portrait in Hungarian court costume with orders; Esterházy arms in bottom margin. Large upright folio; plate mark, top margin trimmed; slightly soiled. N.Y., Rockman Prints, 1954.
Lithograph printed by Rauh; full-length portrait in uniform, plumed helmet on table at right. Lithograph printed by Rauh; full-length portrait in uniform, plumed helmet on table at right. Upright folio; margins trimmed; clean. N.Y., Rockman Prints, 1957.
Lithograph printed by Lemercier, numbered 10; 3/4-length portrait in uniform and decorations. Lithograph printed by Lemercier, numbered 10; 3/4-length portrait in uniform and decorations. Upright folio; margins; slightly soiled. New York, Rockman Prints, 1962.
Lithograph by Simonau after Van Genck; bust portraits of 2 generals in uniform. Lithograph by Simonau after Van Genck; bust portraits of 2 generals in uniform. Small oblong folio; margins trimmed; yellowed. New York, Rockman Prints, 1961. title: LE COMTE GÉRARD Né à Damvilliers, Département de la Mensele 4 Avril 1773, Command.t du Siège de la Citadelle d’Anvers en Xbre 1832. LE B.on D.H. CHASSÉ Né a Thiel en Gueldre le 18 Mars 1767 [sic] Command.t de la Citadelle d’Anvers en Xbre 1832. caption: J Sacré, á Bruxelles, Editeur caption: Van Genck caption: Imp de Simonau
Hand-colored wood-engraving; mounted officers at right center, stretcher party at left. Hand-colored wood-engraving; mounted officers at right center, stretcher party at left. Narrow small oblong folio, mounted on cream paper; margins. (This is a smaller version of Bataille de Gaines Mill by Francois d'Orleans). [See: UB1862gf-1.] Brussels, A. Elebaut, 1955.
20th in set of 22 original watercolors signed by Toussaint; equestrian portrait of cavalry officer riding toward left, Algerian cavalry in background. 20th in set of 22 original watercolors signed by Toussaint; equestrian portrait of cavalry officer riding toward left, Algerian cavalry in background. Folio, unbound; clean; in beige cloth case, brown leather label stamped gold. Paris, Grangié sale, 1967.
10th in set of 22 original watercolors signed by Toussaint; equestrian portrait of colonel, leading troop of zouave infantry at left, cliffs in background. 10th in set of 22 original watercolors signed by Toussaint; equestrian portrait of colonel, leading troop of zouave infantry at left, cliffs in background. Folio, unbound; clean; in beige cloth case, brown leather label stamped gold. Paris, Grangié sale, 1967.
Original watercolor, unsigned; officer of 7e Hussards dancing with young woman. Original watercolor, unsigned; officer of 7e Hussards dancing with young woman. Small upright; no margins; clean. New York, Walter Schatzki, 1972.
Original ink and watercolor drawing signed by Job; full-length portrait of Dupin, seated outdoors, in red hussar jacket and medals, white breeches, black boots, wide-brimmed gold-embroidered hat. Original ink and watercolor drawing signed by Job; full-length portrait of Dupin, seated outdoors, in red hussar jacket and medals, white breeches, black boots, wide-brimmed gold-embroidered hat. Upright folio, matted; clean. N. Y., Soldier Shop, 1970. Reproduced in Tenues des Troupes, No. 7, May 15, 1902. Not contemporary
3rd in collection of 5 lithographic proofs by and after Raffet; full-length portrait of colonel, cross of Légion d'honneur on tunic, wearing shako. 3rd in collection of 5 lithographic proofs by and after Raffet; full-length portrait of colonel, cross of Légion d'honneur on tunic, wearing shako. In blue cloth portfolio, red cloth label stamped black "Raffet - Portraits et Uniformes". Paris, Robert Prouté, 1976.
5th in collection of 5 lithographic proofs by and after Raffet; equestrian portrait of colonel in profile, facing left, lifting baton or whip. 5th in collection of 5 lithographic proofs by and after Raffet; equestrian portrait of colonel in profile, facing left, lifting baton or whip. In blue cloth portfolio, red cloth label stamped black "Raffet - Portraits et Uniformes". Paris, Robert Prouté, 1976.
Napoleon falls from his white horse (l.) onto a map of France (r.) that is supported by the branches of a tree and is part of a larger map of Europe. In falling, he lands on the French imperial eagle. The French crown has slipped from his head and is held by both Napoleon and the eagle. A second crown, which has been identified in "Napoleon Im Spiegel" as the Italian crown, has fallen to the ground. Napoleon falls from his white horse (l.) onto a map of France (r.) that is supported by the branches of a tree and is part of a larger map of Europe. In falling, he lands on the French imperial eagle. The French crown has slipped from his head and is held by both Napoleon and the eagle. A second crown, which has been identified in "Napoleon Im Spiegel" as the Italian crown, has fallen to the ground. Napoleon abdicated on April 6, 1814. This satire, which first appeared in April, 1814, addresses the abdication.
Original pencil drawing signed and dated by Vigneron; grenadier in shooting stance, dog looking out from pack on soldier's back. Original pencil drawing signed and dated by Vigneron; grenadier in shooting stance, dog looking out from pack on soldier's back. Small upright folio, matted; soiled. New York, Rockman Prints, 1952.
17th in set of 22 original watercolors signed by Toussaint; equestrian portrait of squadron commander, leading cavalry troop on mountain trail. 17th in set of 22 original watercolors signed by Toussaint; equestrian portrait of squadron commander, leading cavalry troop on mountain trail. Folio, unbound; clean; in beige cloth case, brown leather label stamped gold. Paris, Grangié sale, 1967.
Color aquatint; full-length portrait in court dress near throne, cushion and lectern, outdoors, building in background. Color aquatint; full-length portrait in court dress near throne, cushion and lectern, outdoors, building in background. Upright, inserted in cream paper; margins; clean. New York, Henry L. Bokelman, 1948.
2nd of (3?) colored lithographed plates of war scenes; mounted Napoleon III addressing victorious general, surrounded by mounted staff officers, fields and buildings in background. (Subtitle in French quotes Napoleon announcing that he is making the general (MacMahon) Duke of Magenta.) 2nd of (3?) colored lithographed plates of war scenes; mounted Napoleon III addressing victorious general, surrounded by mounted staff officers, fields and buildings in background. (Subtitle in French quotes Napoleon announcing that he is making the general (MacMahon) Duke of Magenta.) Small oblong folio, margins intact; soiled. Paris, Cart, 1951. Title: LE CHAMP DE BATAILLE DE MAGENTA Le Soir de la Battaille S. M. l'Empereur fit appeler le Général Mac-Mahon et lui dit ((Maréchal je vous fais duc de Magenta. Caption: Gadola à Lyon. Caption: chez GOSSELIN. Impr. Editr. r. St. Jacques, 71 à PARIS. Caption: GUERRE D'ITALIE
One of a collection of 28 lithograph war and political cartoons printed by Destouches, chiefly from the series, "Actualités", in the French journal "le Charivari". By and after Darjou, numbered 40, on page 373. One of a collection of 28 lithograph war and political cartoons printed by Destouches, chiefly from the series, "Actualités", in the French journal "le Charivari". By and after Darjou, numbered 40, on page 373. Upright; matted; margins trimmed; clean. N.Y., Argosy, 1954.
Lithograph signed by Charlet; wounded soldier accompanied by dog, sitting near wall and bandaging feet, walking stick nearby, other soldiers and drummer-boy in right background including soldier on crutches. Lithograph signed by Charlet; wounded soldier accompanied by dog, sitting near wall and bandaging feet, walking stick nearby, other soldiers and drummer-boy in right background including soldier on crutches. Oblong folio; margins. Paris, Robert Prouté, 1969.
Engraving by Tardieu l'ainé; full-length portrait in tropical or personal uniform, leaning on musket and standing over dead slave, scene of disturbance or insurrection in distance. Engraving by Tardieu l'ainé; full-length portrait in tropical or personal uniform, leaning on musket and standing over dead slave, scene of disturbance or insurrection in distance. Upright, matted; margins severely trimmed. From: Voyage à Surinam et dans l'intérieur de la Guyane, contenant la relation de cinq ... sur les Indiens de la Guyane et sur les nègres, par le capitaine J. G. Stedman (1799). Engraving after William Blake from the English edition (1796), possibly from a drawing by Stedman. N.Y., Rockman Prints, 1964.
Lithograph by and after Scherer; hussar, 3/4-length, drinking coffee, civilian taking cup from table in background. Lithograph by and after Scherer; hussar, 3/4-length, drinking coffee, civilian taking cup from table in background. Upright medium folio, matted; margins trimmed; foxed, worn. New York, Rockman Prints, 1949. Title: LE CAFÉ. Caption: à Paris, chez Bès et Dubreuil, imp. èdit . rue Git-le-Coeur, 11. Caption: Déposé. Printed Signature: SCHERER
13th of 15 (of ?) ink and watercolor drawings signed by Coppok; sea-battle between 1 Russian, 2 Turkish ships in foreground, 2 large fleets in background. 13th of 15 (of ?) ink and watercolor drawings signed by Coppok; sea-battle between 1 Russian, 2 Turkish ships in foreground, 2 large fleets in background. Oblong small folio; margins; edges soiled, damaged. Camden, Me., Staack, 1952.
Hand-colored engraving; full-length portrait in uniform, outdoors, smaller soldier figures in background. Hoogvorst played a prominent role in the Belgian Revolution in 1830. Hand-colored engraving; full-length portrait in uniform, outdoors, smaller soldier figures in background. Hoogvorst played a prominent role in the Belgian Revolution in 1830. Upright, mounted on paper, matted; plate mark, margins trimmed; clean. Brussels, Delacre sale, 1961.
2nd in collection of 11 photogravure plates of Second Empire and Franco-Prussian War military scenes, this one after Jazet; cavalrymen rushing from hotel in town square to saddle and mount horses. 2nd in collection of 11 photogravure plates of Second Empire and Franco-Prussian War military scenes, this one after Jazet; cavalrymen rushing from hotel in town square to saddle and mount horses. Upright and oblong, unbound; clean; in light blue cloth portfolio, red leather labels st. gold "Military paintings. Paris, Salon 1879-80". N.Y., Walter Schatzki, 1952.
Color lithograph by and after David, printed by Lemercier, numbered 6; sentry and dog, outdoors. Color lithograph by and after David, printed by Lemercier, numbered 6; sentry and dog, outdoors. Upright; margins intact; soiled; in blue cloth portfolio, red leather label stamped gold: "French Caricatures...ca. 1830-48." New York, Walter Schatzki, '52.
One of a collection of 28 lithograph war and political cartoons printed by Destouches, chiefly from the series, "Actualités", in the French journal "le Charivari". By and after Cham (Amédée Charles Henri, Comte de Noé), numbered 80, on page 143. Snowman Winter blowing cold air at two shivering figures One of a collection of 28 lithograph war and political cartoons printed by Destouches, chiefly from the series, "Actualités", in the French journal "le Charivari". By and after Cham (Amédée Charles Henri, Comte de Noé), numbered 80, on page 143. Snowman Winter blowing cold air at two shivering figures Upright; slightly trimmed; tape along bottom edge; glue and paper residue on back; slightly yellowed. N.Y., Argosy, 1954.
