John Bull, here a large gray-haired volunteer, resolutely stands blocking the front window of the 'toy store' filled with models of London buildings. Like a spoiled child, Napoleon points at the 'toys' on display and wipes his eye with a large handkerchief. The object Napoleon most desires in this image is the Bank in the upper right corner of the window. In addition to the Bank, Cawse has included other British institutions such as India House, the Treasury, the Custom House, the Tower, and St. James's among the 'toys' in the window. Significantly, the toys in the shop windows have the two dimensionality of prints, and not objects. This feature causes the shop window to resemble an eighteenth-century print shop more than a toy store. (See George's entry, BM 10118). Image has been mounted on to a stiff paper backing. Lower left corner of the sheet has been torn off and the first name "John" removed. Additionally, there is a hole torn in the lower right corner of the sheet, and the paper has been damaged by foxing and possibly water. This is a different impression of the same print as work number 130604. John Bull, here a large gray-haired volunteer, resolutely stands blocking the front window of the 'toy store' filled with models of London buildings. Like a spoiled child, Napoleon points at the 'toys' on display and wipes his eye with a large handkerchief. The object Napoleon most desires in this image is the Bank in the upper right corner of the window. In addition to the Bank, Cawse has included other British institutions such as India House, the Treasury, the Custom House, the Tower, and St. James's among the 'toys' in the window. Significantly, the toys in the shop windows have the two dimensionality of prints, and not objects. This feature causes the shop window to resemble an eighteenth-century print shop more than a toy store. (See George's entry, BM 10118). Image has been mounted on to a stiff paper backing. Lower left corner of the sheet has been torn off and the first name "John" removed. Additionally, there is a hole torn in the lower right corner of the sheet, and the paper has been damaged by foxing and possibly water. This is a different impression of the same print as work number 130604. Published by Samuel W. Fores, 1803-10-29. Published as part of Fores' 'Folios of Caricatures Lent out for the Evening.' British Museum, BM 10118. George contends that Broadley's attribution of the print to Cawse is faulty. In her estimation the engraving as drawn is 'unlike his manner.' Dialogue: John Bull: "I tell you--you shan't touch one of them so blabber away and be d----d." Dialogue: Napoleon: "Pray Mr. Bull let me have some of the Toys if 'tis only that little one in the corner." Inscription: "Folios of Caricatures lent out for the evening." Inscription: "J.B." Miscellaneous: "Fores Caracturist [sic] to the First Consul."

This sheet depicts John Bull at target practice. Bull has removed his hat, wig and cloak , revealing his bald head and awkward figure. At close range, Bull fires a spray of shot at a scarecrow wearing a uniform covered with gold braid and a plumed hat. This sheet is another that relates to the invasion scare of 1803. Bull, representing the clumsy Englishman of middling sorts, optimistically practices for the invasion. The print has darkened with age. The corners of this sheet are pierced with tack or nail holes. This sheet depicts John Bull at target practice. Bull has removed his hat, wig and cloak , revealing his bald head and awkward figure. At close range, Bull fires a spray of shot at a scarecrow wearing a uniform covered with gold braid and a plumed hat. This sheet is another that relates to the invasion scare of 1803. Bull, representing the clumsy Englishman of middling sorts, optimistically practices for the invasion. The print has darkened with age. The corners of this sheet are pierced with tack or nail holes. Published by William Holland. Caption: London Pub Aug 18, 1803 by W. Holland No 11 Cockspur Street Pall Mall Dialogue: John Bull: "D__n me, but I've winged the Corsican!!

Standing on opposing bluffs of the Channel, John Bull and Napoleon exchange "news" items and dispatches. Napoleon stands, or rather leans, on the left cliff, which is labeled "Falsehood." He furiously writes dispatches that are then blown towards England by means of a news boy's trumpet manned by a French soldier wearing a bonnet rouge. A city, which is identified by the inscription "Vienna" can be seen in the far distance behind Napoleon and the Frenchman. Among the news items that fly over the Channel are Napoleon's false headlines like; "Journal de l'Empire, Arche-Duke Charles Dead with fatigue," "Journal de Spectacle, L' Opera--England Invaded," "Gazette de France, English Fleet Dispers'd,"Publicite, the combin'd Fleets sent in pursuit," "Memorial Anti-Britanique, Kill'd 20,000 Austrians, 20 more kill'd them," "Moniteur, Separte [sic] Peace with the Emperor," "Journal de Paris, Fabrications Falsehoods." Standing on the bluff inscribed "Truth'" Bull is represented as a typically stocky British citizen. Bull wears a news boy's cap which is inscribed, "Britannia Rules the Main." In his left hand he holds a sheaf of papers titled, "Trafalgar, London Gazette Extraordinaire." The trumpet he blows issues a speech bubble announcing "Total Defeat of the Combin'd Fleets of France and Spain." In the distance, beyond the straits of the Channel a vicious naval battle is underway. Gun smoke and explosions crowd the horizon and stir up the choppy waves. Standing on opposing bluffs of the Channel, John Bull and Napoleon exchange "news" items and dispatches. Napoleon stands, or rather leans, on the left cliff, which is labeled "Falsehood." He furiously writes dispatches that are then blown towards England by means of a news boy's trumpet manned by a French soldier wearing a bonnet rouge. A city, which is identified by the inscription "Vienna" can be seen in the far distance behind Napoleon and the Frenchman. Among the news items that fly over the Channel are Napoleon's false headlines like; "Journal de l'Empire, Arche-Duke Charles Dead with fatigue," "Journal de Spectacle, L' Opera--England Invaded," "Gazette de France, English Fleet Dispers'd,"Publicite, the combin'd Fleets sent in pursuit," "Memorial Anti-Britanique, Kill'd 20,000 Austrians, 20 more kill'd them," "Moniteur, Separte [sic] Peace with the Emperor," "Journal de Paris, Fabrications Falsehoods." Standing on the bluff inscribed "Truth'" Bull is represented as a typically stocky British citizen. Bull wears a news boy's cap which is inscribed, "Britannia Rules the Main." In his left hand he holds a sheaf of papers titled, "Trafalgar, London Gazette Extraordinaire." The trumpet he blows issues a speech bubble announcing "Total Defeat of the Combin'd Fleets of France and Spain." In the distance, beyond the straits of the Channel a vicious naval battle is underway. Gun smoke and explosions crowd the horizon and stir up the choppy waves. Published by S. W. Fores, December 11, 1805. The nature of the exchange between falsehood and truth was the subject of many British satires that attacked Napoleon for his greatly embellished dispatches. Notably, the style of news headlines is carried over into the titles of satires. Images of this nature, which often combine satirical imagery with an ironic use of language, can also be interpolated by the satire. Dialogue: Bull's announcement: "Total Defeat of the Combin'd Fleets of France and Spain." Inscription: Pubd, Decemr 11th 1805 by S. W. Fores, No, 50 Picadilly - Folios of Caricatures lent out for the Evening. Printed Signature: Woodward delt,. Headline(s): "Journal de l'Empire, Arche-Duke Charles Dead with fatigue," "Journal de Spectacle, L' Opera England Invaded," "Gazette de France, English Fleet Dispers'd,"Publicite the combin'd Fleets sent in pursuit," "Memorial Anti-Britanique, Kill'd 20,000 Austrians, 20 more kill'd them," "Moniteur, Separte Peace with the Emperor," "Journal de Paris, Fabrications and Falsehoods" Headline(s): "Trafalgar, London Gazette Extraordinaire"

According to Margaret George, this sheet was printed after several reports of British and Allied victories over Napoleon and the French army. In celebration, the image depicts the victors holding Napoleon's nose to the grindstone and wearing his resolve away. Here, the Russian Tsar cranks the handle, while John Bull holds Napoleon's head to the bloodied stone. George has also identified the figure of Bernadotte, wearing a blue coat, and, standing in for Frederick William, a "Prussian Death's Head Hussar." According to Margaret George, this sheet was printed after several reports of British and Allied victories over Napoleon and the French army. In celebration, the image depicts the victors holding Napoleon's nose to the grindstone and wearing his resolve away. Here, the Russian Tsar cranks the handle, while John Bull holds Napoleon's head to the bloodied stone. George has also identified the figure of Bernadotte, wearing a blue coat, and, standing in for Frederick William, a "Prussian Death's Head Hussar." Published by Thomas Tegg, 1814-03-21. British Museum, BM 12199. George notes the sheet was published on the heels of a 'week of good news,' including; 'news of a British reverse, 9 Mar. at Bergen-op-Zoom, Blütcher's success at Laon on 9 Mar., Wellington's victory at Orthez on 27 Feb.' Caption: London Pubd March 21st 1814 Dialogue: John Bull: "Aye--Aye--Master Bony--I thought I should You to it one of those days, you have carried on the trade of Grinding long enough to the Anoyance Of your Opressed Neighbors--One good turn deserves another--Give him a fair Turn Brother Alexd--and let us see how he-- likes a Taste." Miscellaneous: "Trial of O'Connea...", "Original Jacobin Manuscript", "Revolutionary Odes by Citizen Bow-ba-dara" [Bob Adair], "Intelligence for the Morning Chronicle".

Hand-colored etched caricature; stout moustached soldier being outfitted by wife and son. Hand-colored etched caricature; stout moustached soldier being outfitted by wife and son. Oblong medium folio, matted; plate mark; soiled.

A comfortable tradesman, John Bull and his family greet two Cossacks who step out of an elegant coach into a London street. Bull, whose butcher shop is visible on the far left of the image, grasps a Cossack's hand and shakes it vigorously, welcoming the visitor to London. The middle-class clothing Bull and his family wear contrast with the tunics and furred hats worn by the Cossacks. The Cossack whose hand Bull clasps is tall and muscular; he returns the shake with an air of furious disdain. Clearly not used to such effusions of esteem, the Cossack is dressed in a manner worthy of a battlefield; a large scimitar hangs from a sash, a pistol is tucked into the front of his belt, a rifle is strapped to his back, and he holds a bloodied lance in his left hand. Holding a long spear, his companion steps from the carriage. Napoleons hat has been pierced and hangs at the end of the weapon. Like his companion, he wears full costume and a contemptuous expression. Bull's wife and children sand at the left of the scene and register expressions of curiosity and wonder at the Cossacks. One child, a small boy, has just pricked his finger on the edge spear and cries. His brother crouches by the tip and extends a finger towards the sharp edge. Mrs. Bull peers over her husband's shoulder and admires the Cossacks' "fine beards & whiskers." Clearly the two figures are in and of themselves spectacles. This print is in good condition. It has slightly frayed at the lower left corner of the sheet. In addition, the sheet is creased in a manner consistent with the original folds made for inclusion in the periodical. A comfortable tradesman, John Bull and his family greet two Cossacks who step out of an elegant coach into a London street. Bull, whose butcher shop is visible on the far left of the image, grasps a Cossack's hand and shakes it vigorously, welcoming the visitor to London. The middle-class clothing Bull and his family wear contrast with the tunics and furred hats worn by the Cossacks. The Cossack whose hand Bull clasps is tall and muscular; he returns the shake with an air of furious disdain. Clearly not used to such effusions of esteem, the Cossack is dressed in a manner worthy of a battlefield; a large scimitar hangs from a sash, a pistol is tucked into the front of his belt, a rifle is strapped to his back, and he holds a bloodied lance in his left hand. Holding a long spear, his companion steps from the carriage. Napoleons hat has been pierced and hangs at the end of the weapon. Like his companion, he wears full costume and a contemptuous expression. Bull's wife and children sand at the left of the scene and register expressions of curiosity and wonder at the Cossacks. One child, a small boy, has just pricked his finger on the edge spear and cries. His brother crouches by the tip and extends a finger towards the sharp edge. Mrs. Bull peers over her husband's shoulder and admires the Cossacks' "fine beards & whiskers." Clearly the two figures are in and of themselves spectacles. This print is in good condition. It has slightly frayed at the lower left corner of the sheet. In addition, the sheet is creased in a manner consistent with the original folds made for inclusion in the periodical. Printed for the Satirist, 1 May 1813. George notes that this image relates to a visit made to the London Post Office on April 9. he writes, 'The elder had a spear ten feet long projecting from the window; the other was a Don Cossack. They were greeted by Sir W. Curtis among others, and the 'Cossack' was much lionized (Europ. Mag. ixiii.356).' Dialogue: John Bull (center l.): "I wish his head has been in it with all my heart and soul! I am glad to see you my very good friends." Dialogue: Mrs. Bull (l.): "La! sure - such fine beards & whiskers!!! Bond Street is nothing to them do but Lookee John - now Lookee!!" Dialogue: Cossack (r., descending from carriage): "The rascal himself made his escape from Justice! I was just in time to run my spear thro his Hat!!" Printed Signature: Satirist invt Printed Signature: W. H. EKoorb delt. Aqua Fortis fecit.

Hand-colored engraved caricature by and after Charles. 'In marked contrast to the Alexandrians print, the Baltimoreans offered the British invaders stiff resistance. Here Charles portrays the repulsion of the Royal Army at Fort McHenry and the gallant performance of the American militia there. In a landscape before Fort McHenry, members of the American Fifth Regiment (at left) pursue a disorderly troop of British and Highland soldiers toward the right. The first of them prods the rump of John Bull (again, a bull in seaman's outfit) saying, "Oh! hoh! -- Johnny you thought you had Alexandrians to deal with did you -- But we'll teach you to know what a flogging is!!!" John Bull: "Mercy! mercy on me -- What fellows those Baltimoreans are -- After the example of the Alexandrians I thought I had nothing to do but enter the Town and carry off the Booty -- And here is nothing but Defeat and Disgrace!!!" On the right a mounted officer (Admiral Cockburn?) urges the British back, saying, "What's the Matter! you Cowardly rascals! Back back and execute the orders of your Government --We must attack every point that's assailable!" A Highlander responds, "In gude troth Admiral I think ye are as mad as our government Dinna ye ken the General's kilt -- ye must only attack sie places as Hampton, Havre de Grace, or Alexandria." In the background an American rifleman in the brush fires at mounted Scottish General Robert Ross. Sniper: "Now for this Chap on Horseback with the plaid Bonnet on -- There -- there's a Rifle pill for you -- Thats a quietus." Ross: "Deil [sic] tak that Republican rascal wi his Rifle gun for he's blawn my brains out." ' -- Library of Congress Hand-colored engraved caricature by and after Charles. 'In marked contrast to the Alexandrians print, the Baltimoreans offered the British invaders stiff resistance. Here Charles portrays the repulsion of the Royal Army at Fort McHenry and the gallant performance of the American militia there. In a landscape before Fort McHenry, members of the American Fifth Regiment (at left) pursue a disorderly troop of British and Highland soldiers toward the right. The first of them prods the rump of John Bull (again, a bull in seaman's outfit) saying, "Oh! hoh! -- Johnny you thought you had Alexandrians to deal with did you -- But we'll teach you to know what a flogging is!!!" John Bull: "Mercy! mercy on me -- What fellows those Baltimoreans are -- After the example of the Alexandrians I thought I had nothing to do but enter the Town and carry off the Booty -- And here is nothing but Defeat and Disgrace!!!" On the right a mounted officer (Admiral Cockburn?) urges the British back, saying, "What's the Matter! you Cowardly rascals! Back back and execute the orders of your Government --We must attack every point that's assailable!" A Highlander responds, "In gude troth Admiral I think ye are as mad as our government Dinna ye ken the General's kilt -- ye must only attack sie places as Hampton, Havre de Grace, or Alexandria." In the background an American rifleman in the brush fires at mounted Scottish General Robert Ross. Sniper: "Now for this Chap on Horseback with the plaid Bonnet on -- There -- there's a Rifle pill for you -- Thats a quietus." Ross: "Deil [sic] tak that Republican rascal wi his Rifle gun for he's blawn my brains out." ' -- Library of Congress Small oblong folio, matted; margins trimmed; minor tear. N.Y., Harry H. Hymes, 1945.

The satirical image tops the sheet. It depicts John Bull and Napoleon glaring at each other over a body of water--the English Channel--that separates them. Like many satires produced in 1803, particularly those printed in the summer months, this satire deals with the threat of the French invasion of England. John Bull is shown in profile at the left of the image: his fist is clenched in defiance and as a warning to Napoleon. Napoleon stands at the right of the image and faces Bull with his sword drawn. Compared to Bull, Bonaparte is a scrawny upstart and is as dwarfed by his hat as he is by his opponent. A comical song is printed below the image. The lyrics of the song, which is to be sung to the tune of the "Blue Bell of Scotland," describe Napoleon's threats of invasion and challenge them with bravura. The satirical image tops the sheet. It depicts John Bull and Napoleon glaring at each other over a body of water--the English Channel--that separates them. Like many satires produced in 1803, particularly those printed in the summer months, this satire deals with the threat of the French invasion of England. John Bull is shown in profile at the left of the image: his fist is clenched in defiance and as a warning to Napoleon. Napoleon stands at the right of the image and faces Bull with his sword drawn. Compared to Bull, Bonaparte is a scrawny upstart and is as dwarfed by his hat as he is by his opponent. A comical song is printed below the image. The lyrics of the song, which is to be sung to the tune of the "Blue Bell of Scotland," describe Napoleon's threats of invasion and challenge them with bravura. This sheet is the product of two separate printing processes. The image and the type-set text are printed by two publishers. The text was very likely printed before the image. Caption: Left: 'London Pubd. by Ackermann 101 Strand London Augt. 13. 1803. Inscription: Woodward del. Inscription: Shury, Printer, Berwick Street. Inscription: IC Song: When and O when does this little Boney come? Perhaps he'll come in August!- perhaps he'll stay at home; But it's O my heart, how I'll hide him should he come. Where and O where does this little Boney dwell? His birth place is in Corsica - but France he likes so well, That it's O the poor French, how they crouch beneath his spell. What cloathes [sic] and what cloathes [sic] does this little Boney wear? He wears a large cock'd hat for to make the people stare; But it's O my oak stick! I'd advise him to take care! What shall be done should this little Boney die; Nine cats squall his dirge, in sweet melodious cry; And it's O my heart, if a tear shall dim my eye! Yet still he boldly brags, with consequence full cramm'd, On England's happy island his legions he will land; But it's O in my heart, if he does I may be d___d!!!

17th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; standing uniform figure of infantryman in blue, with scarlet facings, cocked hat, facing forward, outdoors. 17th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; standing uniform figure of infantryman in blue, with scarlet facings, cocked hat, facing forward, outdoors. Folio, unbound; in red cloth case, red morocco back stamped gold "Feyerabend - die Eidgenössischen Truppen - Basel 1792". Zurich, August Laube, 1960.

8th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; infantryman in red uniform, swinging rifle over head by the barrel; mountains in background. 8th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; infantryman in red uniform, swinging rifle over head by the barrel; mountains in background. Folio, unbound; in red cloth case, red morocco back stamped gold "Feyerabend - die Eidgenössischen Truppen - Basel 1792". Zurich, August Laube, 1960.

Engraving by G.P. Busch; full-length portrait in military costume with baton in outstretched hand, helmet on ledge at lower left, small figures in battle in background. Engraving by G.P. Busch; full-length portrait in military costume with baton in outstretched hand, helmet on ledge at lower left, small figures in battle in background. Small upright folio, matted; margins entirely trimmed away except at bottom; small hole near center of paper. Leichtenstein-Hauslab Collection, 1951.

Original unsigned watercolor (crude); full-length portrait in uniform, outdoors. Original unsigned watercolor (crude); full-length portrait in uniform, outdoors. Small upright folio, cut out and mounted on white paper with manuscript inscription; worn, yellowed. Hamburg, Helmut Gerhard Schulz, 1957.

One of a series of 12 colored engraved plates of military and battle scenes by A. Bartsch after Kininger, interleaved with 12 uncolored impressions of same series. Uncolored engraving of wounded soldier being carried by another soldier while a third walks alongside. Depicts Johann Kleineiden carrying Baron von Koseritz to safety on June 12, 1793. From series: Heroic deeds of Austrian soldiers, plate 4 One of a series of 12 colored engraved plates of military and battle scenes by A. Bartsch after Kininger, interleaved with 12 uncolored impressions of same series. Uncolored engraving of wounded soldier being carried by another soldier while a third walks alongside. Depicts Johann Kleineiden carrying Baron von Koseritz to safety on June 12, 1793. From series: Heroic deeds of Austrian soldiers, plate 4 Folio; 1/2 red cloth and red morocco stamped gold "Kininger und Bartsch - Züge der Tapferkeit K.K. Soldaten"; margins trimmed. Leichtenstein-Hauslab Collection, 1951.

One of a series of 12 colored engraved plates of military and battle scenes by A. Bartsch after Kininger, interleaved with 12 uncolored impressions of same series. Wounded soldier being carried by another soldier while a third walks alongside. Depicts Johann Kleineiden carrying Baron von Koseritz to safety on June 12, 1793. From series: Heroic deeds of Austrian soldiers, plate 4 One of a series of 12 colored engraved plates of military and battle scenes by A. Bartsch after Kininger, interleaved with 12 uncolored impressions of same series. Wounded soldier being carried by another soldier while a third walks alongside. Depicts Johann Kleineiden carrying Baron von Koseritz to safety on June 12, 1793. From series: Heroic deeds of Austrian soldiers, plate 4 Folio; 1/2 red cloth and red morocco stamped gold "Kininger und Bartsch - Züge der Tapferkeit K.K. Soldaten"; margins trimmed; some foxing. Leichtenstein-Hauslab Collection, 1951.

One of a collection of 6 engraved portraits of figures in military costume with partial armor. Figure holding club in left hand. One of a collection of 6 engraved portraits of figures in military costume with partial armor. Figure holding club in left hand. Folio, unbound; in blue cloth portfolio case, red leather label stamped gold; margins trimmed close. Leichtenstein-Hauslab Collection, 1951.

Engraving by and after (?) Schnitzer; full-length portrait, calipers in right hand, left on table, cannon etc. in corridor in left background. Engraving by and after (?) Schnitzer; full-length portrait, calipers in right hand, left on table, cannon etc. in corridor in left background. Small upright folio, matted; margins severely trimmed; repaired. Leichtenstein-Hauslab Collection, 1951.

Engraving by J. Sandrart, 1662; 3/4-length portrait near small window with a view of Trinity Church in Regensburg, calipers in hand, small model of cannon on table in foreground. Beneath image is a verse by Sigmund von Birken in eight lines, and a dedication to Schwehrvattern by Michael Endter. Engraving by J. Sandrart, 1662; 3/4-length portrait near small window with a view of Trinity Church in Regensburg, calipers in hand, small model of cannon on table in foreground. Beneath image is a verse by Sigmund von Birken in eight lines, and a dedication to Schwehrvattern by Michael Endter. Small upright folio, matted; margins trimmed close, mounted on paper. Leichtenstein-Hauslab Collection, 1951.

11th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; infantryman in blye coat, seen from behind, holding rifle at ready, outdoors. 11th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; infantryman in blye coat, seen from behind, holding rifle at ready, outdoors. Folio, unbound; in red cloth case, red morocco back stamped gold "Feyerabend - die Eidgenössischen Truppen - Basel 1792". Zurich, August Laube, 1954.

22nd of 26 hand-colored engraved plates, after Feyerabend; standing uniform figure of infantryman in green jacket with yellow trim, buff trousers, holding rifle, profile view facing left. 22nd of 26 hand-colored engraved plates, after Feyerabend; standing uniform figure of infantryman in green jacket with yellow trim, buff trousers, holding rifle, profile view facing left. Folio, unbound; in red cloth case, red morocco back stamped gold "Feyerabend - die Eidgenössen Truppen - Basel 1792". Zürich, August Laube, 1954.

11th in suite of 10 wood-engraved plates; mounted officer on brown horse, and 4 foot soldiers in black and brown uniforms, 2 with muskets and 2 with pikes, moving toward right. From: 'Ordenliche Beschreibung des Christlichen, Hochlöblichen vnd Fürstlichen Beylags oder Hochzeit...', Wien, 1571, in honor of the wedding of Archduke Charles and Maria of Bavaria in 1571. 11th in suite of 10 wood-engraved plates; mounted officer on brown horse, and 4 foot soldiers in black and brown uniforms, 2 with muskets and 2 with pikes, moving toward right. From: 'Ordenliche Beschreibung des Christlichen, Hochlöblichen vnd Fürstlichen Beylags oder Hochzeit...', Wien, 1571, in honor of the wedding of Archduke Charles and Maria of Bavaria in 1571. Oblong folio, unbound; in red cloth slipcase, white leather label stamped gold. New York, H.P. Kraus, 1952

Original unsigned watercolor; full-length portrait of soldier with left arm missing, holding inscribed paper with right hand Original unsigned watercolor; full-length portrait of soldier with left arm missing, holding inscribed paper with right hand Small upright folio. Manchester by the Sea, Christopher Bryant, 2018 Prints, Drawings and Watercolors from the Anne S.K. Brown Military Collection, Brown University Library Digital object made available by: Brown University Library, John Hay Library, University Archives and Manuscripts, Box A, Brown University, Providence, RI, 02912, U.S.A., (http://library.brown.edu/)

Partially-colored photogravure signed H.C. Seppings-Wright 1900; British naval unit firing large gun from trench, 1 soldier shot, another wounded. Partially-colored photogravure signed H.C. Seppings-Wright 1900; British naval unit firing large gun from trench, 1 soldier shot, another wounded. Large oblong folio; margins intact; clean. Providence, Robert W. Kenny Jr., 1999.

One of a collection of 6 original watercolor caricatures, unsigned by Alfy (pseudonym), dated 1878; rear view of cavalry officer in undress. One of a collection of 6 original watercolor caricatures, unsigned by Alfy (pseudonym), dated 1878; rear view of cavalry officer in undress. Upright; no margins; stained. N.Y., Rockman Prints, 1961.

Engraving by and after von Prenner, from original by Rubens; 'Portrait of Ferdinand III, Holy Roman Emperor and King of Hungary and Bohemia, full-length, facing front, wearing hat and cloak with fur lining, and holding a mace in his right hand, stood in a niche' -- British Museum. Engraving by and after von Prenner, from original by Rubens; 'Portrait of Ferdinand III, Holy Roman Emperor and King of Hungary and Bohemia, full-length, facing front, wearing hat and cloak with fur lining, and holding a mace in his right hand, stood in a niche' -- British Museum. Upright; plate mark, margins intact; clean.'This print comes from a series of reproductions of paintings from the Imperial Gallery of Paintings in Vienna entitled 'Theatrum Artis Pictoriae' -- British Museum. N. Y., Rockman Prints, 1954.

For voice and piano English and French words Caption title Various advertisements Cover illustration: Joan of Arc leading attack / Barbelle

Hand-colored engraving by Mme. Lesueur after Bourdet; full-length portrait in uniform, hussar attendant with horse in right background. Hand-colored engraving by Mme. Lesueur after Bourdet; full-length portrait in uniform, hussar attendant with horse in right background. Upright; margins; some foxing. Paris, Bihn, 1953.

Stipple-engraving (from book), numbered I; bust portrait in uniform, hatless. Stipple-engraving (from book), numbered I; bust portrait in uniform, hatless. Upright; margins trimmed. caption: JOACHIM MURAT GROSS HERZOG VON BERG. number: T. 1

Hand-colored stipple-engraving; round bust portrait in uniform. Hand-colored stipple-engraving; round bust portrait in uniform. Upright, mounted on folio white paper; plate mark, margins; clean. JN. MARIE FRS. LE PAIGE DORSÈNNE (FEU COMTE) caption: Général de Division, Colonel Comandant des Grenadiers à pied de la vielle Garde, Chambellan, Chevalier des Ordres de la Couronne de Fer, et du Mérite Militaire de Maximilien Joseph de Bavière, Grand Officier de la Légion d'Honneur. Né le 30 Avril 1776, à Ardres, Dépt. du Pas de Catair. caption: à Paris chez l'Auteur rue des Francs - Bourgeois, No. 6, F.S.G. caption: Déposé au Bureau des Estampes.

Unsigned watercolor showing a soldier holding a long fabric talking to three Jewish men, a fourth stands on the left; two vignettes of head of Jew showing hair. From a collection of 16 mounted sketches of scenes in Russia, and a sketchbook of mounted drawings and watercolors. Sketch for lithograph 'Camp at Miliathui, 5 July' Unsigned watercolor showing a soldier holding a long fabric talking to three Jewish men, a fourth stands on the left; two vignettes of head of Jew showing hair. From a collection of 16 mounted sketches of scenes in Russia, and a sketchbook of mounted drawings and watercolors. Sketch for lithograph 'Camp at Miliathui, 5 July' Small oblong folio. Munich, auction, 1957. Prints, Drawings and Watercolors from the Anne S.K. Brown Military Collection, Brown University Library Digital object made available by: Brown University Library, John Hay Library, University Archives and Manuscripts, Box A, Brown University, Providence, RI, 02912, U.S.A., (http://library.brown.edu/)

Engraved military game-sheet with 63 illustrations, including uniform figures, military scenes, trophy, 4 corner vignettes of military scenes. Engraved military game-sheet with 63 illustrations, including uniform figures, military scenes, trophy, 4 corner vignettes of military scenes. Oblong folio, matted; plate mark, margins; creased, soiled. Paris, Bihn, 1952.