Color photograph of unsigned original oil bust portrait of young officer, hatless, wearing gorget (original in ASKB Military Collection) Color photograph of unsigned original oil bust portrait of young officer, hatless, wearing gorget (original in ASKB Military Collection) Small upright folio. Title supplied by cataloger

Original unsigned watercolor (primitive); full-length portrait in Highland uniform, tents in background. Added catalog note : painted by Pte. Thomas Shaw. Original unsigned watercolor (primitive); full-length portrait in Highland uniform, tents in background. Added catalog note : painted by Pte. Thomas Shaw. Small upright folio, matted; margins; slightly soiled. London, Parker Gallery, 1958.

Original unsigned oval ink and wash bust silhouette portrait in uniform and hat. Original unsigned oval ink and wash bust silhouette portrait in uniform and hat. Upright, matted; margins; soiled. N.Y., Rockman Prints, 1949.

Soldier in uniform holding musket with bayonet; hat in hand. Arnold, a clerk from Providence, Rhode Island, contracted typhoid while serving with Company D of the First Rhode Island Regiment in the defense of Washington in early July 1861, and died in his hometown on July 30 aged 24. Soldier in uniform holding musket with bayonet; hat in hand. Arnold, a clerk from Providence, Rhode Island, contracted typhoid while serving with Company D of the First Rhode Island Regiment in the defense of Washington in early July 1861, and died in his hometown on July 30 aged 24. Hay Military copy: matted 46 x 36 cm.

One of a pair of stipple engravings by Bumford after Robertson; oval bust portraits in uniform. [See also: John Peter Hankey, Esqr.] One of a pair of stipple engravings by Bumford after Robertson; oval bust portraits in uniform. [See also: John Peter Hankey, Esqr.] Upright folio, matted; plate marks, margins intact; clean. London, W. Hill, 1951.

One of a pair of stipple engravings by Bumford after Robertson; oval bust portrait in uniform. [See also: John Pooley Kensington, Esqr.] One of a pair of stipple engravings by Bumford after Robertson; oval bust portrait in uniform. [See also: John Pooley Kensington, Esqr.] Upright folio, matted; plate marks, margins intact; clean. London, W. Hill, 1951.

Engraving by Carl Guttenberg after Notte; 3/4-length, heavily armed, at rail of ship during combat. Engraving by Carl Guttenberg after Notte; 3/4-length, heavily armed, at rail of ship during combat. Upright folio; plate mark, margins intact; slightly foxed. N.Y., Argosy, 1955.

Engraving, unsigned; 3/4-length, heavily armed, sword in outstretched right hand, left hand on hip, burning ships in background. Engraving, unsigned; 3/4-length, heavily armed, sword in outstretched right hand, left hand on hip, burning ships in background. Upright; slightly soiled. N.Y., Argosy, 1955.

Mezzotint; 3/4-length portrait in uniform with nautical background. Mezzotint; 3/4-length portrait in uniform with nautical background. Upright medium folio, matted; plate mark, margins trimmed close; slightly soiled and creased. N.Y., Old Print Shop, 1950.

Etched and engraved plate by Moreau le Jeune and J.B. Fosseyeux after Moreau le Jeune; bust portrait in uniform and hat. Etched and engraved plate by Moreau le Jeune and J.B. Fosseyeux after Moreau le Jeune; bust portrait in uniform and hat. Upright; plate mark, margins intact; clean. Bristol, R.I., Current Company, 1976.

Etching proof signed by Reich after original oil painting by Peale, numbered 17 (of 28); bust portrait in uniform. Etching proof signed by Reich after original oil painting by Peale, numbered 17 (of 28); bust portrait in uniform. Large upright folio, matted; plate mark, margins intact. Hanover, N.H., Book & Print Shop, 1959. title provided by cataloger

One of a pair of sepia photographs by Albany Art Union; group portrait of Rangers, showing uniform. [See also: John Meredith Read, III]. One of a pair of sepia photographs by Albany Art Union; group portrait of Rangers, showing uniform. [See also: John Meredith Read, III]. Oblong, mounted on gray board; mount is foxed. New York, French Book Corp., 1946.

One of a pair of sepia photographs by Albany Art Union; bust portrait of Read in uniform of the Albany Ranger. [See also Albany Rangers.] One of a pair of sepia photographs by Albany Art Union; bust portrait of Read in uniform of the Albany Ranger. [See also Albany Rangers.] Upright, mounted on gray board; mount worn and soiled. N.Y., French Book Corp., 1946.

One of a collection of 10 carte-de-visite portraits by numerous photographers showing military officers and enlisted personnel; this one by Hills & Saunders of John McCance, Capt. Harrow School R.V.C. One of a collection of 10 carte-de-visite portraits by numerous photographers showing military officers and enlisted personnel; this one by Hills & Saunders of John McCance, Capt. Harrow School R.V.C. Upright carte-de-visite; damage to upper and lower margins; yellowed. Handwritten on back of photograph: 8714. Title from inscription.

8th in collection of 11 line-engraved and stipple-engraved imagerie-type plates of portraits; full-length portrait of admiral standing on portico, leaning against rail, ship at sea in background. 8th in collection of 11 line-engraved and stipple-engraved imagerie-type plates of portraits; full-length portrait of admiral standing on portico, leaning against rail, ship at sea in background. Small upright folio, unbound; margins intact; worn. Vienna, Christian Nebehay, 1956.

Mezzotint by Green, published Septr, 10th, 1782; 3/4-length portrait in uniform, hat in hand, on oval enframement. Mezzotint by Green, published Septr, 10th, 1782; 3/4-length portrait in uniform, hat in hand, on oval enframement. Upright folio, matted; margins trimmed close; edges worn. London, Parker Gallery, 1961.

One of a collection of 3 hand-colored stipple engraved plates of oval bust portraits in naval uniform, published May 31st, 1808. Illustration to the Naval Chronicle (1808). [See also: Sir Charles Cotton, Bart and Captn. Sir James Lucas Yeo. Knt.]. One of a collection of 3 hand-colored stipple engraved plates of oval bust portraits in naval uniform, published May 31st, 1808. Illustration to the Naval Chronicle (1808). [See also: Sir Charles Cotton, Bart and Captn. Sir James Lucas Yeo. Knt.]. Upright, each inset in folio white paper; margins trimmed; worn, soiled. New York, Henry L. Bokelman, 1948.

Hand colored etched caricature after I. Cruikshank, published July 17th, 1794; soldiers attempting to break in horses at stable. Hand colored etched caricature after I. Cruikshank, published July 17th, 1794; soldiers attempting to break in horses at stable. Oblong folio, matted; plate mark, margins trimmed; soiled. London, Parker Gallery, 1965.

Lithograph proof by T.H. Maguire after Negelen; 3/4-length portrait in uniform, hatless, left hand resting on sword. Lithograph proof by T.H. Maguire after Negelen; 3/4-length portrait in uniform, hatless, left hand resting on sword. Upright folio, matted; margins intact; clean.

Mezzotint after Cotes, published 11 Feb. 1799; oval half-length portrait in uniform, hatless, in enframement of draperies, foliage. Mezzotint after Cotes, published 11 Feb. 1799; oval half-length portrait in uniform, hatless, in enframement of draperies, foliage. Upright; margins entirely trimmed away; clean. London, Parker Gallery, 1950.

Line and stipple engraving (by and ?) after Orme, published Novr. 21st, 1797; sailor hanging onto mast and nailing up flag. Line and stipple engraving (by and ?) after Orme, published Novr. 21st, 1797; sailor hanging onto mast and nailing up flag. Upright, matted; margins trimmed close; slightly worn. N.Y., Rockman Prints, 1955.

Color mezzotint by I. Faber, 1735, after Kneller; half-length portrait, hatless, in green coat and Garter ribbon, baton in hand, background of drapery. Color mezzotint by I. Faber, 1735, after Kneller; half-length portrait, hatless, in green coat and Garter ribbon, baton in hand, background of drapery. Upright folio, matted; margins trimmed close; slightly worn. London, Parker Gallery, 1950.

This broadside was printed from two separate plates, by two printers. The top plate is an image, the bottom, verses of a song printed in type. The sheet was produced at the height of the invasion scare, and is consistent with a number of similar images that imagine Napoleon's arrival in England (and subsequent capture) with bravado. As history testifies, French troops never did invade England or the British Isles. Yet, for a period in 1803, such an event seemed likely to many. IA crowd is shown enjoying London's famed Bartholomew Fair. A large amusement, comparable to the modern Ferris wheel, is in the center of the image. This ride is operated by hand crank by a figure standing at the hub of the wheel. There are six open gondolas attached to the wheel, each holding several figures. The carriage at the top of the wheel is occupied by Napoleon, who is shackled to the gondola. A flag flies over his head and reads: "The Monster from Jaffa." Napoleon has been reduced to the status of a curiosity, or a sideshow freak--not unlike the elephant that was also exhibited at the fair (see the flag at the right of the image). A carnival hawker, dressed in the typical blue coat and striped vest of John Bull, calls the viewer's attention to the spectacle and invites participation. The second sheet is a set of lyrics. In the first verse, Napoleon's rise and fall to power is likened to the carnival ride. The second verse sights the horrors Napoleon has committed thus far. Specifically, it denigrates him for the murder of his own French troops who were struck with plague in Jaffa. Finally, in the third verse, Napoleon's capture and his subsequent execution by hanging is imagined. This broadside was printed from two separate plates, by two printers. The top plate is an image, the bottom, verses of a song printed in type. The sheet was produced at the height of the invasion scare, and is consistent with a number of similar images that imagine Napoleon's arrival in England (and subsequent capture) with bravado. As history testifies, French troops never did invade England or the British Isles. Yet, for a period in 1803, such an event seemed likely to many. IA crowd is shown enjoying London's famed Bartholomew Fair. A large amusement, comparable to the modern Ferris wheel, is in the center of the image. This ride is operated by hand crank by a figure standing at the hub of the wheel. There are six open gondolas attached to the wheel, each holding several figures. The carriage at the top of the wheel is occupied by Napoleon, who is shackled to the gondola. A flag flies over his head and reads: "The Monster from Jaffa." Napoleon has been reduced to the status of a curiosity, or a sideshow freak--not unlike the elephant that was also exhibited at the fair (see the flag at the right of the image). A carnival hawker, dressed in the typical blue coat and striped vest of John Bull, calls the viewer's attention to the spectacle and invites participation. The second sheet is a set of lyrics. In the first verse, Napoleon's rise and fall to power is likened to the carnival ride. The second verse sights the horrors Napoleon has committed thus far. Specifically, it denigrates him for the murder of his own French troops who were struck with plague in Jaffa. Finally, in the third verse, Napoleon's capture and his subsequent execution by hanging is imagined. Published on a single sheet from two plates. The image is at the top of the sheet. The second plate is typeface text printed at the bottom of the sheet. This caricature is not listed in Broadley or George under its current title. This impression is of three verses of a song to be sung to the tune of "Hey, My Kitten, &c." George notes that the "Amateur" who drew the original design was Lt.-Col. Bradyll. Inscription: Pubd by F. (?) Bate. No.11 Vigo Lane near Jackville Street, London. Inscription: Etcd by Roberts. Inscription: November 3, 1803. Inscription: Wheeler, Printer, Wardour St. Song: Song. -- To the Tune of "Hey, My Kitten, &c." 1. Hey, my Bouna! my Buona! Hey, my tight Buonapart-i! Such a d---mn'd Imp as it is The de--l doth love in his heart-i. There he goes, up, up, up, And now he goes down-e, down-e; There he goes backwards and forwards, And here he goes round-y, round-y. 2. Where was his fury and rage Exerted, so much like a monster? It would blacken history's page To name Jaffa, with others among, Sir; For there he practiced that power Assign'd him by Pluto, his master, And hurled to death, in an hour, His troops, who had met with disaster. 3. And now, my Buona, my Buona! Now, my fierce Bounapart-i! You'll have not the air of a lord, When you come to be drawn in a cart-i; For then you must up, up, up, And there stay till you're cut down-e, Nor will you go backwards and forwards, Or can you go round-y, round-y Or can you go round-y, round-y.

In the center of the image, a sailor playing skittles waves his hat and cheers; nine bowling pins have been leveled by his ball painted with the British flag. The pins, or skittles, that litter the dirt game "field" are decorated with the features of French soldiers. Napoleon, standing to the sailor's left, clutches his right leg in pain and opens his mouth to howl, complaining that John Bull never loses a game. Clearly, Bull has won the game by hitting Napoleon as well as the pins. In the left distance, a group of men enjoy the game from at table outside of the "Royal Oak" tavern while toasting Britain. In the center of the image, a sailor playing skittles waves his hat and cheers; nine bowling pins have been leveled by his ball painted with the British flag. The pins, or skittles, that litter the dirt game "field" are decorated with the features of French soldiers. Napoleon, standing to the sailor's left, clutches his right leg in pain and opens his mouth to howl, complaining that John Bull never loses a game. Clearly, Bull has won the game by hitting Napoleon as well as the pins. In the left distance, a group of men enjoy the game from at table outside of the "Royal Oak" tavern while toasting Britain. Published by T. Williamson, 1803-05-28. British Museum, BM 10000. Caption: Pub by T. Williamson 20 Strand London May 28, 1803 Dialogue: John Bull: "Huzza- Old England for ever. D--m me, had there been a hundred of them I'd have tipt 'em all." Dialogue: Napoleon: "Begar Jean Bull never lose he always win ah, now he's broke my shin." Dialogue: Drinkers: "Here's the wooden walls of Great Britain." Annotation: S.W.F.

Hand-colored etched caricature (after Williams), published Novr. 1st, 1798; John Bull seated at table and being served by group of admirals including Nelson, and civilians such as Charles Fox and Richard Brinsley Sheridan, who present captured enemy ships on platters etc. Hand-colored etched caricature (after Williams), published Novr. 1st, 1798; John Bull seated at table and being served by group of admirals including Nelson, and civilians such as Charles Fox and Richard Brinsley Sheridan, who present captured enemy ships on platters etc. Oblong folio, matted; margins trimmed; edges worn. London, Parker Gallery, 1952.

At the left of the sheet, "Pat," the personification of Ireland, and "John Bull," of England, stand on a grassy plateau and observe a flock of "birds" flying over sea and rocky cliffs at the right side of the image. Elderly and wearing large glasses, Bull aims a large gun at the flying creatures. Just behind Bull, Pat offers to assist him but is rebuked. The formation in the sky is led by a large creature with the head and cocked hat of Napoleon, but with the wings and body of a bird. Other birds with human heads and black hats follow close behind. In the distant sea, several ships dot the horizon. The sheet has been damaged and repaired in the center-- it has also been touched up with watercolor. Also, there is some staining in the upper left center of the sheet. At the left of the sheet, "Pat," the personification of Ireland, and "John Bull," of England, stand on a grassy plateau and observe a flock of "birds" flying over sea and rocky cliffs at the right side of the image. Elderly and wearing large glasses, Bull aims a large gun at the flying creatures. Just behind Bull, Pat offers to assist him but is rebuked. The formation in the sky is led by a large creature with the head and cocked hat of Napoleon, but with the wings and body of a bird. Other birds with human heads and black hats follow close behind. In the distant sea, several ships dot the horizon. The sheet has been damaged and repaired in the center-- it has also been touched up with watercolor. Also, there is some staining in the upper left center of the sheet. Published by Roberts. Image is not listed in Broadley or in the British Museum catalog, and is neither signed by the creator nor dated. Possibly by Roberts? Although the sheet is undated, the subject matter situates it comfortably with other 'invasion prints' made in 1800 and 1803. Caption: Pub by Roberts Dialogue: Pat: "By St. Patrick Brother John there seems to be a Precious sight of them--I was told that they were only Flying about by way of a little jontlemanly amusement but now they begin to shew themselves. I've a great mind to throw my shillalagh at them." Dialogue: John Bull: "Leave them alone to me Brother Pat, as soon as I have Properly level'd my great gun I'll be among some of them, Particularly that large cock bird with a long sword by his side."

On the left of the sheet, Napoleon flouishes his sword and directs John Bull's attention to a large sheet of paper Bull holds in his hands. Gleefully, Napoleon suggests that the news the document contains is disagreeable enough to give Bull "de gripes," making him sick to his stomach. Bull, seated on a close stool on the right of the sheet, reads patiently and indicates that he will make good use of the document in a moment's time. The sheet is folded and has darkened at the edges. On the left of the sheet, Napoleon flouishes his sword and directs John Bull's attention to a large sheet of paper Bull holds in his hands. Gleefully, Napoleon suggests that the news the document contains is disagreeable enough to give Bull "de gripes," making him sick to his stomach. Bull, seated on a close stool on the right of the sheet, reads patiently and indicates that he will make good use of the document in a moment's time. The sheet is folded and has darkened at the edges. Published by Roberts. Not signed by a creator or dated. Possibly by Roberts? This print is not listed in Broadley or in the British Museum catalog. Caption: Published by Roberts Middlerow Dialogue: Napoleon: "Dere you mister Jean Bull read you dat -ah ah- what it give you de gripes do it-- Well-- well--dere is de grand manifesto--do what you Please with it ma foi." Dialogue: John Bull: "Don't be in such a violent Passion--I shall make use of it in a few moments."

Robust and hearty, John Bull gazes at the viewer with a simpering tightlipped smile. Above his head the satirist has included the slogan, "Britons Strike home" in a speech bubble. Bull has made himself comfortable by removing his hat and wig and is about to play his "base viol"--the limp body of Napoleon here supported between Bull's knees. He holds Napoleon firmly by the neck and proceeds to draw his sword across Napoleon's torso in the manner that a bow is run across strings. Napoleon dangles from Bull's grip, his mouth open in pain and protest. This sheet in the Hay's collection is a reissue of an earlier impression published by Roberts in 1803 (George, vol. viii, 218). Tegg has attempted to scratch out Robert's signature which is now just barely visible in the lower left corner of the image. Tegg's signature is centered under the image, above the title. Robust and hearty, John Bull gazes at the viewer with a simpering tightlipped smile. Above his head the satirist has included the slogan, "Britons Strike home" in a speech bubble. Bull has made himself comfortable by removing his hat and wig and is about to play his "base viol"--the limp body of Napoleon here supported between Bull's knees. He holds Napoleon firmly by the neck and proceeds to draw his sword across Napoleon's torso in the manner that a bow is run across strings. Napoleon dangles from Bull's grip, his mouth open in pain and protest. This sheet in the Hay's collection is a reissue of an earlier impression published by Roberts in 1803 (George, vol. viii, 218). Tegg has attempted to scratch out Robert's signature which is now just barely visible in the lower left corner of the image. Tegg's signature is centered under the image, above the title. Published by Thomas Tegg. 1807-01-01 Caption: Pubd Janry 1, 1807 by T. Tegg III Cheapside London Dialogue: John Bull: "Britons Strike home." Annotation: 54 Annotation: Musical Instruments Collector's Mark: A Plate Mark: 259

John Bull, sword in hand, rides a lion across the English Channel. Napoleon and his troops run away on land. John Bull, sword in hand, rides a lion across the English Channel. Napoleon and his troops run away on land. August 16, 1803 London Pub'd Aug. 16, 1803 by W. Holland, No. 11 Cockspur Street Pall Mall Dialogue: Napoleon: Dat is right my brave Friends, -- take to your heels, -- for here is dat dam Jean Bool -- coming over on his Lion. John Bull: I'll be after you my lads, -- do you think I'll stay at home waiting for you, -- if you mean to come d__n it why don't you come? -- do you think I put on my regimentals for nothing

Astride the British lion, John Bull rampages through the French countryside and attacks the diminutive French cavalry, who ride bull frogs. The lion rises on his hind legs and prepares to pounce on his prey. A British flag is tied to his tail and his hindquarters are branded with the seal of George III, "GR." Bull, as ever a stout figure, raises his sword as he leads the charge. A modest country house is at the right of the sheet. Believing he is safely hidden, Napoleon appears, popping out of the house's chimney. On the left of the sheet, ships dot the distant harbor. Pencil notes were made on the print by a previous collector; mostly illegible, appear to have been erased. Astride the British lion, John Bull rampages through the French countryside and attacks the diminutive French cavalry, who ride bull frogs. The lion rises on his hind legs and prepares to pounce on his prey. A British flag is tied to his tail and his hindquarters are branded with the seal of George III, "GR." Bull, as ever a stout figure, raises his sword as he leads the charge. A modest country house is at the right of the sheet. Believing he is safely hidden, Napoleon appears, popping out of the house's chimney. On the left of the sheet, ships dot the distant harbor. Pencil notes were made on the print by a previous collector; mostly illegible, appear to have been erased. Published by McCleary. British Museum, BM 10078. Print is neither signed nor dated. On this sheet the publisher is McCleary at no. 21 Nassau Street. According to Broadley, however, the sheet was published by Holland and printed on 1803-08-29. Caption: Publ. by McCleary, No 21 Nassau Street Dialogue: John Bull: "D-m me but I'll put your calvary to the hop. I only wish I could find out yr Commander." Dialogue: Napoleon: "Mercy on me what a terrible fellow, I think I am tolerably safe here!"