5th in collection of 18 engraved military portraits by and after Weigel; mounted figure of king, outdoors, facing forward, lifting baton; large troop of cavalry and firing cannon in background, town in distance. 5th in collection of 18 engraved military portraits by and after Weigel; mounted figure of king, outdoors, facing forward, lifting baton; large troop of cavalry and firing cannon in background, town in distance. Leichtenstein-Hauslab Collection, 1951 Small folio, unbound; in maroon cloth portfolio case, red leather label stamped gold; some yellowed or foxed.

Mezzotint by Geiger; oval bust portrait, half-length in hussar uniform, hatless, with orders. Mezzotint by Geiger; oval bust portrait, half-length in hussar uniform, hatless, with orders. Upright medium folio, mounted on folio white paper; plate mark, margins trimmed close; slightly worn. N.Y., Rockman Prints, 1955.

A procession of horse-drawn wagons winds across the Spanish countryside, moving away from the city of Madrid. Standing as regal as any Roman emperor, Joseph Bonaparte rides in the front cart surrounded by young and pretty nuns. The carts that follow his are alternately loaded with golden church statues and ornaments, and bags of wine. At the left of the image, a group of Spanish citizens has turned out to celebrate his departure. Comically, Joseph mistakes their cheers for expressions of loyalty to him. In the foreground of the scene, two fat old monks mournfully observe the departure of the nuns and the church's goods. Like other Spaniards, they are rewarded with the taunts of French soldiers and by the sharp ends of the French bayonets. On the right side of the image, a group of French soldiers stands under the red banner of the Legion of Honor. Two soldiers clasp their arms around the waists of Spanish women who struggle to escape. Other soldiers in the group laugh and remark at the futility of the women's attempts to escape. Despite the confusion that reigns among the figures, the Spanish landscape of green plains and tall mountains stretches serenely across the horizon. Even the city of Madrid appears calm and ordered in the aftermath of Joseph's departure. This sheet shows evidence of having been folded vertically into quarters. A procession of horse-drawn wagons winds across the Spanish countryside, moving away from the city of Madrid. Standing as regal as any Roman emperor, Joseph Bonaparte rides in the front cart surrounded by young and pretty nuns. The carts that follow his are alternately loaded with golden church statues and ornaments, and bags of wine. At the left of the image, a group of Spanish citizens has turned out to celebrate his departure. Comically, Joseph mistakes their cheers for expressions of loyalty to him. In the foreground of the scene, two fat old monks mournfully observe the departure of the nuns and the church's goods. Like other Spaniards, they are rewarded with the taunts of French soldiers and by the sharp ends of the French bayonets. On the right side of the image, a group of French soldiers stands under the red banner of the Legion of Honor. Two soldiers clasp their arms around the waists of Spanish women who struggle to escape. Other soldiers in the group laugh and remark at the futility of the women's attempts to escape. Despite the confusion that reigns among the figures, the Spanish landscape of green plains and tall mountains stretches serenely across the horizon. Even the city of Madrid appears calm and ordered in the aftermath of Joseph's departure. This sheet shows evidence of having been folded vertically into quarters. Published for the Proprietors of Town Talk. 1812-09-01 Caption: Pubd Octor 1st 1812 for the Proprietors of Town Talk Dialogue: Figure group in the middle left: (l. to r.) Celebrating citizen: "Deo Gratuos! They are going! they are going!" Citizen who has been poked by a bayonet: "Worthy gentleman you mistak I was lamenting the departure of such kind friends who have been so free and easy with us." French soldier: "What do you say you scoundrel! do you call us robbers! I'll make you remember it!" Soldiers and Joseph's wagon: (l. to r.): First soldier: "Sacre B.... de Cheval Espagnole Marche" Soldier addressing Joseph: "Ces fous la rejouis by gar Mons. Joseph, dey be glad we go." Joseph: "Bye Bye don't cry so my faithfull Subjects I'll come back to you as soon as those dam'd English will let me--I have taken a few tokens to remember you by." A Nun in the wagon: "Father Dominick don't grieve, King Joseph has left some old ones behind for you." Monk (l.): "God deliver you out of the Devils clutches my poor girls, but I fear you are lost sheep." Monk (r.): "What are you about you blackguard we are not used to such treatment." Soldier: "get home you old Bums! What do you begrudge King Joseph a few Virgins for his amusement!" Group of Soldiers under "Legion of Honor" banner: Soldier (l.): "Ah Pardie, you not gone yet Madonna I take you to see de grand Paris." Soldier (center r.): "What is that foolish woman making such a noise for. Look how contented Josephs companions travel with him." Soldier (far r.): "We have got all her Husbands property so she has nothing worth staying behind for Captain?" Annotation: THI,53 Annotation: OLY [?] Collector's Mark: A

Lithographic print, from photograph, by Weger; half-length portrait of archduke, in uniform, hatless, facing left. Lithographic print, from photograph, by Weger; half-length portrait of archduke, in uniform, hatless, facing left. Upright folio; no margins; clean.

Engraving; half-length portrait in part-armor. Engraving; half-length portrait in part-armor. Upright; margins trimmed. N.Y., Rockman Prints, 1964.

Mezzotint by Atkinson after Grant, published Decr. 5th, 1876; full-length portrait in uniform, hat under arm, standing near pillars. Mezzotint by Atkinson after Grant, published Decr. 5th, 1876; full-length portrait in uniform, hat under arm, standing near pillars. Large upright folio, matted; plate mark, margins trimmed; clean, edges worn. N.Y., Rockman Prints, 1956. title provided by cataloger

Lithograph by A. Ziegler; 3/4-length portrait in Tyrolean dress with sword at belt, gun in hand, mountains etc. in background. Lithograph by A. Ziegler; 3/4-length portrait in Tyrolean dress with sword at belt, gun in hand, mountains etc. in background. Upright; margins; clean. N.Y., Rockman Prints, 1956.

Colored lithograph (by A. Bry after Valerio and Ortner); full-length figure (with moustache) in uniform, outdoors, sword held across chest in right hand, chalet in background. Colored lithograph (by A. Bry after Valerio and Ortner); full-length figure (with moustache) in uniform, outdoors, sword held across chest in right hand, chalet in background. Upright; margins severely trimmed. Title supplied by cataloger. N.Y., Rockman Prints, 1949.

Engraved caricature (by J. M. Will?); Emperor Joseph II playing cards with Catherine the Great and Sultan Abdul Hamid I while guard at right forbids entry to skeleton figure in doorway. Engraved caricature (by J. M. Will?); Emperor Joseph II playing cards with Catherine the Great and Sultan Abdul Hamid I while guard at right forbids entry to skeleton figure in doorway. Small oblong folio; margins intact; small part of one corner torn off, slightly yellowed. N. Y., Rockman Prints, 1958.

Hand colored engraving (copied after Alexander Sauerweid); equestrian portrait in full-dress uniform, facing left, pointing with outstretched right arm. Hand colored engraving (copied after Alexander Sauerweid); equestrian portrait in full-dress uniform, facing left, pointing with outstretched right arm. Upright medium folio, matted; margins trimmed close; soiled. N.Y., Rockman Prints, 1949.

Original watercolor, somewhat crude, unsigned; equestrian profile port., facing right, outdoors. Original watercolor, somewhat crude, unsigned; equestrian profile port., facing right, outdoors. Small upright folio, matted; margins; yellowed and stained. N.Y., Rockman Prints, 1953.

Original watercolor, 1845, unsigned; equestrian portrait of dragoon, facing right, firing pistol. Original watercolor, 1845, unsigned; equestrian portrait of dragoon, facing right, firing pistol. Medium folio; margins; yellowed. New York, Walter Schatzki, 1955.

Line- and stipple-engraving by H. Mansfeld; oval bust portrait in uniform, hatless, pelisse over left shoulder. Line- and stipple-engraving by H. Mansfeld; oval bust portrait in uniform, hatless, pelisse over left shoulder. Upright folio, matted; plate mark, margins intact; clean.

1st in collection of 3 mezzotint plates by Sartain; bust portrait in uniform, oval enframement. 1st in collection of 3 mezzotint plates by Sartain; bust portrait in uniform, oval enframement. Upright folio, except Beauregard trimmed to medium folio, matted; plate marks, margins intact on Johnston, Jackson; clean. N.Y., Argosy, 1950.

Stipple-engraved plate; bust portrait in uniform of Joseph Bonaparte. Stipple-engraved plate; bust portrait in uniform of Joseph Bonaparte. Upright, in folio mat; margins; clean. title: Joseph Bonaparte

Engraving by and after St. Memin; round profile bust portrait in uniform. Engraving by and after St. Memin; round profile bust portrait in uniform. Upright, matted; plate mark, margins intact; yellowed. Title supplied by cataloger. N.Y., Old Print Shop, 1963.

Engraving by Ign. Seb. Klauber after Ritt; bust portrait in uniform in oval enframement with arms below. Engraving by Ign. Seb. Klauber after Ritt; bust portrait in uniform in oval enframement with arms below. Upright; plate mark, margins; clean. N.Y., Rockman Prints, 1961.

25th of 26 hand-colored engraved plate, after Feyerabend; standing uniform figure of infantryman in blue jacket with red trim, tricorn hat, with grounded rifle; shield with key insignia below. 25th of 26 hand-colored engraved plate, after Feyerabend; standing uniform figure of infantryman in blue jacket with red trim, tricorn hat, with grounded rifle; shield with key insignia below. Folio, unbound; in red cloth case, red morocco back stamped gold "Feyerabend - die Eidgenössen Truppen - Basel 1792". Zürich, August Laube, 1954,

Colore aquatint; full-length portrait in uniform, left arm raised to point, landscape background. Colore aquatint; full-length portrait in uniform, left arm raised to point, landscape background. Upright; margins. N.Y., Rockman Prints, 1950.

Lithograph printed by Toma; full-length portrait in uniform in ornamental enframement with musical trophies at bottom. Lithograph printed by Toma; full-length portrait in uniform in ornamental enframement with musical trophies at bottom. Folio; margins intact; foxed, creased. Vienna, Christian Nebehay, 1981.

Printed poster with line drawing; bust-length profile of soldier in helmet, facing left; extensive text below, beginning "All those who long to wear our country's coat..." Printed poster with line drawing; bust-length profile of soldier in helmet, facing left; extensive text below, beginning "All those who long to wear our country's coat..." Upright folio; margins; clean.

Poster urges enlistment in the Tank Corps. Poster urges enlistment in the Tank Corps. Printed in black and gray on heavy white paper. At head of title lithograph signed: W.F. Hoffman of giant black cat leaping over tanks. Below title: Tank Corps Recruiting Office, 19 W. 44th Street, New York. They treat 'em rough.

Soldier looking through binoculars and airplane. Soldier looking through binoculars and airplane. Upright folio.

U.S. Army recruiting poster showing soldier holding star insignia, airplane in background, others in sky, with airships flying overhead. U.S. Army recruiting poster showing soldier holding star insignia, airplane in background, others in sky, with airships flying overhead. Upright folio.

Poster urges membership in the Red Cross. Poster urges membership in the Red Cross. Printed in red and dark blue on heavy white paper. At head of title a white-bordered red cross. "Join" is the only text. Suggested range of publication dates because Brown University copy acquired with World War I posters.

John Bull has tucked Napoleon upside-down under his chin and begins to play him like a fiddle. Napoleon's legs jut out around Bull's head like a wishbone. Bull uses his sword as a bow and cheerfully saws at the arms and torso of the terrified Napoleon. This print has darkened greatly with age. There are holes in each of the four corners from pins or tacks. John Bull has tucked Napoleon upside-down under his chin and begins to play him like a fiddle. Napoleon's legs jut out around Bull's head like a wishbone. Bull uses his sword as a bow and cheerfully saws at the arms and torso of the terrified Napoleon. This print has darkened greatly with age. There are holes in each of the four corners from pins or tacks. Published by Charles. Caption: Charles del Dialogue: Bull: "Britons Strike home/Revenge your Country's wrongs, &c."

John Bull (r.) pulls back a curtain to reveal Napoleon and Josephine seated on thrones and arrogantly pretending to be the King and Queen of England. Napoleon, dressed in his military uniform and a ridiculously oversized black hat, brandishes an unsheathed sword. Josephine mimics his pose and sits in an unlady-like fashion, hand on hip and knees spread apart. Additionally, she wears a crown and carries the royal scepter and orb. Bull dwarfs the two pretenders and chastises them as if they were children at play. John Bull (r.) pulls back a curtain to reveal Napoleon and Josephine seated on thrones and arrogantly pretending to be the King and Queen of England. Napoleon, dressed in his military uniform and a ridiculously oversized black hat, brandishes an unsheathed sword. Josephine mimics his pose and sits in an unlady-like fashion, hand on hip and knees spread apart. Additionally, she wears a crown and carries the royal scepter and orb. Bull dwarfs the two pretenders and chastises them as if they were children at play. Published by Lawrie and Whittle (or Whittle and Lawrie), 1803-09-12. British Museum, BM 10098. Caption: Publish'd Septr 12, 1803, by Laurie & Whittle, 53, Fleet Street, London Dialogue: Bull: "Boney-Boney, that won't do, You must not Play my King & Queen." Plate Mark: 314

Partially-colored engraved caricature by and after Charles. 'The citizens of Alexandria, Virginia, are ridiculed in this scene for their lack of serious resistance against the British seizure of the city in 1814. At left two frightened gentlemen kneel with hands folded, pleading, "Pray Mr. Bull don't be too hard with us -- You know we were always friendly, even in the time of our Embargo!" In the center stands a bull in English seaman's clothes, holding out a long list of "Terms of Capitulation" to the Alexandrians. He says, "I must have all your Flour -- All your Tobacco -- All your Provisions -- All your Ships -- All your Merchandize -- every thing except your Porter and Perry -- keep them out of my sight, I've had enough of them already." His allusion is to American Commodore Oliver Hazard Perry and Captain David Porter. At right, a soldier and sailor carry off spirits, saying: "Push on Jack, the yankeys are not all so Cowardly as these Fellows here -- let's make the best of our time." and "Huzza boys!!! More Rum more Tobacco!"' -- Library of Congress Partially-colored engraved caricature by and after Charles. 'The citizens of Alexandria, Virginia, are ridiculed in this scene for their lack of serious resistance against the British seizure of the city in 1814. At left two frightened gentlemen kneel with hands folded, pleading, "Pray Mr. Bull don't be too hard with us -- You know we were always friendly, even in the time of our Embargo!" In the center stands a bull in English seaman's clothes, holding out a long list of "Terms of Capitulation" to the Alexandrians. He says, "I must have all your Flour -- All your Tobacco -- All your Provisions -- All your Ships -- All your Merchandize -- every thing except your Porter and Perry -- keep them out of my sight, I've had enough of them already." His allusion is to American Commodore Oliver Hazard Perry and Captain David Porter. At right, a soldier and sailor carry off spirits, saying: "Push on Jack, the yankeys are not all so Cowardly as these Fellows here -- let's make the best of our time." and "Huzza boys!!! More Rum more Tobacco!"' -- Library of Congress Oblong medium folio, matted; margins trimmed close. N.Y., Old Print Shop, 1953.

the symphonies and accompanyments by George Hogarth. 'Respectfully inscribed to Sir Adam Ferguson, Keeper of the Regalia of Scotland. Cover etched oval illustration: cavalry officer galloping away from two men; 'Designed & etched by D. Allan' ; 'Published...by G. Thomson.

This sheet is one of many invasion prints. John Bull, on the right, is dressed as a sailor and is stripped to the waist. He wades into the English Channel and challenges Napoleon to join him in the water. Napoleon (r.), an emaciated figure, peeks out from behind a triple fortification protected by row upon row of cannons. At the base of Napoleon's fort small gunboats set out to sea. Like many caricatures published in 1803, when the threat of a French invasion loomed over Britain, this sheet by Gillray depicts John Bull openly daring Napoleon to make his move. This uncolored sheet has been mounted on another sheet of paper. In the upper left corner there is evidence that it has been repaired. This sheet is one of many invasion prints. John Bull, on the right, is dressed as a sailor and is stripped to the waist. He wades into the English Channel and challenges Napoleon to join him in the water. Napoleon (r.), an emaciated figure, peeks out from behind a triple fortification protected by row upon row of cannons. At the base of Napoleon's fort small gunboats set out to sea. Like many caricatures published in 1803, when the threat of a French invasion loomed over Britain, this sheet by Gillray depicts John Bull openly daring Napoleon to make his move. This uncolored sheet has been mounted on another sheet of paper. In the upper left corner there is evidence that it has been repaired. Published by Hannah Humphrey, 1803-08-02. British Museum, BM 10048. Caption: Pubd August 2d 1803 by H Humphrey St James s Street Dialogue: John Bull: "You're a' coming? You be d--n'd! If you mean to invade us, why make such a rout? I say, Little Boney--why don't you come out? Yes, d--n ye, why don't you come out?" Dialogue: Napoleon: "I'm a' com'ing!-- I'm a' com'ing!!!" Signature: [Gillray] Plate Mark: 7