One of 2 color lithograph plates of soldiers marching in city streets, by Sarony, Major & Knapp; for D.T. Valentine's Manual, 1862. One of 2 color lithograph plates of soldiers marching in city streets, by Sarony, Major & Knapp; for D.T. Valentine's Manual, 1862. Oblong, one of 2 prints matted together; margins intact; creased, soiled. Los Angeles, Clark, 1957.

Original unsigned wash drawing; mounted and dismounted soldiers and wounded in foreground, small soldier figures on plain in left foreground, mountainous landscape, castles etc. in distance. Original unsigned wash drawing; mounted and dismounted soldiers and wounded in foreground, small soldier figures on plain in left foreground, mountainous landscape, castles etc. in distance. Originally attributed to Johann-Philipp Lembke, 1631-1713, but probably by or after Courtois for oil painting in the Alte Pinakothek, Munich. New York, Rockman Prints, 1961. Title supplied by cataloger

One of two colored lithographs by and after Maclure, printed by Andrew Maclure, Archibald Gray Macdonald and Macgregor; bird's-eye view over Horse Guards parade showing hearse under canopy, carriages of mourners arriving, troops drawn up to form escort, background of view over city and river. [See also: Arrival at St. Paul's.] One of two colored lithographs by and after Maclure, printed by Andrew Maclure, Archibald Gray Macdonald and Macgregor; bird's-eye view over Horse Guards parade showing hearse under canopy, carriages of mourners arriving, troops drawn up to form escort, background of view over city and river. [See also: Arrival at St. Paul's.] Oblong folio, matted; margins intact; clean. London, Parker Gallery, 1951. Subtitle supplied by cataloger.

Men leaving Gargnano to volunteer for the Italian army Men leaving Gargnano to volunteer for the Italian army Published in Illustrated Times, March 20, 1862, vol. 14, p. 196.

Engraving by Couché Fils and Bovinet after Heim; Louis XVIII about to enter carriage at door of Tuileries, surrounded by despairing officers and soldiers. Engraving by Couché Fils and Bovinet after Heim; Louis XVIII about to enter carriage at door of Tuileries, surrounded by despairing officers and soldiers. Oblong, one of 2 prints [cf. Frp1815mf-3b]; pl. marks, margins intact; clean. Paris, Bessel, 1960.

1st in collection of 6 (of ?) colored and uncolored aquatint plates by Levachez after Vernet; this one uncolored; winter scene of mounted Cossack riding toward left through tent encampment, smaller standing figures by tents in background. 1st in collection of 6 (of ?) colored and uncolored aquatint plates by Levachez after Vernet; this one uncolored; winter scene of mounted Cossack riding toward left through tent encampment, smaller standing figures by tents in background. Folio, unbound; in 1/4 green leather and green cloth portfolio stamped gold "C. Vernet. Les Cosaques. c. 1810"; worn, soiled.

2nd in collection of 6 (of ?) colored and uncolored aquatint plates by Levachez after Vernet; this one colored; winter scene of mounted Cossack riding toward left through tent encampment, smaller standing figures by tents in background. 2nd in collection of 6 (of ?) colored and uncolored aquatint plates by Levachez after Vernet; this one colored; winter scene of mounted Cossack riding toward left through tent encampment, smaller standing figures by tents in background. Folio, unbound; in 1/4 green leather and green cloth portfolio stamped gold "C. Vernet. Les Cosaques. c. 1810"; worn, soiled.

Colored lithograph by Lordereau after B.; coffin being removed from catafalque on jetty for transfer to ceremonial barge, officers in foreground. Colored lithograph by Lordereau after B.; coffin being removed from catafalque on jetty for transfer to ceremonial barge, officers in foreground. Small oblong folio, mounted on white paper; margins severely trimmed; worn. New York, Rockman Prints, 1957.

Hand-colored engraving, numbered Pl. 1ère; French infantry and cuirassiers with royal flag entering town as English troops leave over hill in distance. Hand-colored engraving, numbered Pl. 1ère; French infantry and cuirassiers with royal flag entering town as English troops leave over hill in distance. Small oblong folio; mounted on white paper; margins trimmed; clean. Paris, Robert Prouté, 1972.

No. 1 of 2 lithographed plates, Départ de Nice du Quartier Général by and After V. Adam; Napoleon and staff officers mounted in foreground, massed troops and civilian onlookers in town square, woman holding baskets in foreground, landscape background, with small portrait vignette of military commander at bottom. No. 1 of 2 lithographed plates, Départ de Nice du Quartier Général by and After V. Adam; Napoleon and staff officers mounted in foreground, massed troops and civilian onlookers in town square, woman holding baskets in foreground, landscape background, with small portrait vignette of military commander at bottom. Oblong folio, matted; margins trimmed; cleaned. N.Y., Rockman, 1954. Title: SOUVENIERS DES ARMÉES FRANCAISES. (Campagnes d'Itale BONAPARTE, Genéral en Chef) Number: No. 1 Caption: DÉPART de NICE du QUARTIER GÉNÉRAL.(8 Germinal an IV.) (28 Mars 1796) Le Général Bonaparte arrivé à Nice le 4 Germinal an IV pour prendre le Commandement en chef de l'Armée d'Italie donee aussitõt l'ordere d'entrer en Campagne. Soldats leur dit-il, vous êtes nus mal nourris: On nous doit beaucoup on ne peut rien nous donner. Votre patience, le courage que vous montrez au milieu de ces Rochers, sont admirables; mais il's ne vous procurent aucune gloire; Aucun éclat ne rejaillit sur vous. Je viens vous conduire dans les plus fertiles plaines du monde; de riches provinces de grandes villes serent en notre pouvoir, et là, vous aurez richesses, honneurs et gloire! Soldats d'Italie, manqueriez - vous de courage? Ce discours fut accueilli par de vives acclamations et jut le prelude d'une campagne à jamais mémorable. Caption: Lith par V. Adam d'apres un dessin lait sur les lieux. Caption: Litho de Ligny ét Dupaix, R. Quincanipoix, 38.

Large formation of troops moving towards buildings Large formation of troops moving towards buildings From Raffet's Souvenirs d'Italie, 1849

9th in collection of 15 watercolors of uniform figures, by Lawson, after original documents; standing infantryman in khaki coat, red pantaloons, holding grounded rifle. 9th in collection of 15 watercolors of uniform figures, by Lawson, after original documents; standing infantryman in khaki coat, red pantaloons, holding grounded rifle. Small, unbound; clean; in red cloth case, green leather labels st. gold "Indian State Troops. Water-colors by C.C.P. Lawson from original documents". London, Lawson, 1958.

Original pen and ink and wash sketch, signed by Reeks, of heavy smoke billowing into the air, three Marines manning machine gun in foreground Original pen and ink and wash sketch, signed by Reeks, of heavy smoke billowing into the air, three Marines manning machine gun in foreground Title from typed label affixed to verso. It continues: "This sketch was made from a Leatherneck machine-gun position"; censor's stamp. Reeks joined the USMC in 1941 and saw action on Guadalcanal, New Georgia, Bougainville and Saipan. He was the only official combat artist to land on Iwo Jima with the invasion force and spent thirty days on the island sketching the campaign.

Color copper engraving by and after Borobsky; mounted soldier in line at left receiving orders or inspection from mounted officers at extreme right. Color copper engraving by and after Borobsky; mounted soldier in line at left receiving orders or inspection from mounted officers at extreme right. Small oblong folio, matted; margins trimmed very close; slightly water-stained in corner. New York, H.P. Kraus, 1952.

Colored engraving by and after Eder; 11 uniform figures, of which 1 is mounted, outdoors, as follows : 1) Corps der Feldjäger; 2) Corps der Wiener Freÿwilligen; 3) Corps der Universität; 4) Corps der Akademiker der bildenden Künste; 5) Corps der Freÿwilligen zu Pferde; 6) Corps des bürgl. Handelstandes; 7) Corps der bürgl. Scharfschützen; 8) Corps der bürgl. Landkutscher; 9) Corps der n.ö. Landestanden; 10) Bewaffneter von allgemeinen Aufgebothe; 11) Bewaffneter Bauer. Colored engraving by and after Eder; 11 uniform figures, of which 1 is mounted, outdoors, as follows : 1) Corps der Feldjäger; 2) Corps der Wiener Freÿwilligen; 3) Corps der Universität; 4) Corps der Akademiker der bildenden Künste; 5) Corps der Freÿwilligen zu Pferde; 6) Corps des bürgl. Handelstandes; 7) Corps der bürgl. Scharfschützen; 8) Corps der bürgl. Landkutscher; 9) Corps der n.ö. Landestanden; 10) Bewaffneter von allgemeinen Aufgebothe; 11) Bewaffneter Bauer. Small oblong folio; plate mark, margins; soiled, stained. Vienna, Christian Nebehay, 1953.

One of a pair of color aquatint plates by and after Gurk. Scene of flood in city. Group of men in a boat including Archduke Frank Karl with an eleven-year-old orphan boy Joseph Leykam. One of a pair of color aquatint plates by and after Gurk. Scene of flood in city. Group of men in a boat including Archduke Frank Karl with an eleven-year-old orphan boy Joseph Leykam. Large oblong folio; margins intact; margins slightly soiled and torn. Vienna, Christian Nebehay, 1956.

Color aquatint by and after P. [sic] Opiz; view of memorial temple, visitors in foreground, including some in uniform. Color aquatint by and after P. [sic] Opiz; view of memorial temple, visitors in foreground, including some in uniform. Large oblong folio; plate mark, margins; clean. N.Y., Walter Schatzki, 1957.

From collection of 16 hand-colored etched plates by and after Dighton, this one published Oct. 20, 1814; full-length portrait in uniform and fur cloak. From collection of 16 hand-colored etched plates by and after Dighton, this one published Oct. 20, 1814; full-length portrait in uniform and fur cloak. Upright medium folio, matted; margins severely trimmed. New York, Rockman Prints, 1949.

Engraving by Reinr. Vinkeles after Buys, dated 1789 by engraver; rear view of Duke in uniform, standing at head of table in military conference or congress. Engraving by Reinr. Vinkeles after Buys, dated 1789 by engraver; rear view of Duke in uniform, standing at head of table in military conference or congress. Small upright, mounted on gray paper; margins trimmed close; clean. N.Y., Rockman Prints, 1959.

Wood engraving (plate from illustrated magazine?); King in uniform, seated on throne and receiving deputation, courtiers, officials, officers on sides. Wood engraving (plate from illustrated magazine?); King in uniform, seated on throne and receiving deputation, courtiers, officials, officers on sides. Oblong folio, mounted on tan paper; margins severely trimmed. New York, Rockman Prints, 1962.

One of a suite of 12 uncolored or partially tinted lithograph plates by Arnold and L. Burger after Salpius of campaign scenes, battle scenes. Troops crossing the Allsund strait and storming the Island of Als under heavy fire and in combat One of a suite of 12 uncolored or partially tinted lithograph plates by Arnold and L. Burger after Salpius of campaign scenes, battle scenes. Troops crossing the Allsund strait and storming the Island of Als under heavy fire and in combat Small oblong folio, foxed; bound in blue cloth, red leather label stamped gold "Zalpius (sic). Denmark Campaign." Vienna, Christian Nebehay, 1953.

One of a pair of sanguine engravings (from book) by Pet: Schenck; view of artillery battle with map above. [See also: Alberquerque]. From: 'Schouwtoneel van den oorlog...(blad XI), 1710'. One of a pair of sanguine engravings (from book) by Pet: Schenck; view of artillery battle with map above. [See also: Alberquerque]. From: 'Schouwtoneel van den oorlog...(blad XI), 1710'. Small oblong, matted; margins trimmed; yellowed. N.Y., Rockman Prints, 1957.

A large explosion fills the central part of the image. Distant figures of Marines surround it and two Marines are seen in profile in the right foreground. A large explosion fills the central part of the image. Distant figures of Marines surround it and two Marines are seen in profile in the right foreground. Title from typed label affixed to verso. Title continues: 'The purpose being to seal them in -- since they could not be gotten out, because of so many tunnels back and forth in Suribachi. They continued this until all holes were closed and some 700 Japs were entombed within'. Also includes censor's stamp. Reeks joined the USMC in 1941 and saw action on Guadalcanal, New Georgia, Bougainville and Saipan. He was the only official combat artist to land on Iwo Jima with the invasion force and spent thirty days on the island sketching the campaign.

Hand-colored engraving caricature by and after Gillray, published 12 May 1800; 8 scenes in life of Napoleon. 'A sequence of eight designs, arranged in two rows. [1] 'DEMOCRATIC INNOCENCE. The young Buonaparte, & his wretched Relatives, in their native Poverty, while Free Booters in the Island of Corsica.' The interior of a wretched hut, a fire burning on an open hearth, a tattered cloth hanging from a line. On a heap of straw sits a fat ragged woman, nursing an infant who pulls her nose. Five ragged children fight round an empty dish (on an upturned tub) for a large bare bone which one (Napoleon) has seized and is gnawing. The father enters, carrying on his back a lean chamois; his dog barks at an angry cat who has caught a rat. An axe and sword hang from the rough stone wall. A grotesque travesty of the household of Carlo and Letizia Buonaparte. [2] 'DEMOCRATIC HUMILITY. Buonaparte, when a boy, receiv'd thro' the King's bounty into the École Militaire at Paris.' A stiff Court Chamberlain, like Lord Salisbury in caricature, leads by the hand the barefooted and ragged little Bonaparte, who advances trembling towards the chair at which sits the officer in command of the school, holding out his hand to the child in a friendly manner. On the table before him are plans of forts, books : 'Sur la Guerre' and 'Vauban'; an open book: 'Principe Militaire'. Three small cadets in uniform stand beside him, one holding 'Sur I'Exercise Manuel'. Crossed foils are on the floor. In the background beneath a portrait of Louis XVI (decapitated by the upper margin) are two rows of boys. There are a small cannon, a globe, a diagram of sword exercises, &c. Bonaparte, in 1779, aged nine, was admitted to the military school at Brienne, his expenses defrayed by Louis XVI. [3] 'DEMOCRATIC GRATITUDE. Buonaparte, heading the Regicide Banditti which had dethron'd & Murder'd the Monarch, whose bounty had foster'd him.' Bonaparte stands in back-view directing with outstretched sword the demolition and plundering of a stone building, already on fire. A man with an axe on a ladder smashes a royal escutcheon. Plunderers issue (right) carrying off bags, chests, &c. Plate, coins, jewels, and orders are heaped at Bonaparte's feet and an obsequious soldier empties a sack. On the left is a band of ragged soldiers with a tricolour flag inscribed 'Vive le Egalité'; they have firebrands, a pick-axe, pikes, &c. On 13th Vendémiaire (5 Oct. 1795) Bonaparte commanded the troops by which the Convention was defended from an insurrection which was partly royalist. [4] 'DEMOCRATIC RELIGION. Buonaparte turning Turk at Cairo for Interest; after swearing on the Sacrament to support ye Catholic Faith.' Bonaparte sits cross-legged on a sofa, smoking a hookah, while a Turkish priest puts a turban on his head. A fat Turk (left) reads from a book: 'Alcoran'; another whets a knife. On the right is a group of dismayed French officers; behind are impassive Turkish priests with folded arms. An arc of an ornate tent forms a background. [5] 'DEMOCRATIC COURAGE. Buonaparte, deserting his Army in Egypt, for fear of ye Turks; after boasting that he would extirpate them all'. A moonlight scene. Bonaparte, making furtive gestures of flight, stands in a boat which is rowed from the shore towards a ship. By the shore is a row of tents with tricolour flags, in which ragged French soldiers are asleep. Behind is an advancing army of Turkish soldiers. [6] 'DEMOCRATIC HONOR. Buonaparte, overturning the French Republic which had employ 'd him, & intrusted him with the chief Command.' Bonaparte, sabre in hand, directs files of Grenadiers who put to flight the members of the Council of Five Hundred, who are wearing their official dress. The president on his raised seat under a canopy inscribed 'Vive la Convention Une & Indivisible', screams in terror. (He was actually Lucien Bonaparte, whose assistance to his brother had been decisive.) Bonaparte tramples on the torn 'Constitution de I Ann: 3.' On the floor are 'Arrêts' and 'ordres'. The soldiers have a tricolour flag inscribed 'Liberté'. [7] 'DEMOCRATIC GLORY. Buonaparte, as Grand Consul of France, receiving the adulations of Jacobin Sycophants & Parasites.' He sits enthroned, wearing the dress and plumed hat of a Director; in his left hand is a sceptre on which is poised a figure of Fame. The high back of the throne is framed by two palm-trees, above it an eagle clutches a sheaf of thunderbolts and a terrestrial globe, indicating world domination. On his right kneel members of the Legislative Body; one, kneeling at the steps of the throne, holds out an 'Addresse du Corps Legislatif'. Opposite them (right) three men prostrate themselves, in grovelling servility, one holds a paper: 'Homage du Senat Conservatif'. Beside them are men standing with bowed heads; one holds out an 'Addresse de Tribunate'. At the back of the throne ranks of grenadiers stand at attention with fixed bayonets. A censer burns before Bonaparte. Sieyès peeps furtively from behind the throne, a finger to his nose; he holds an 'Ad[resse de] I'Abbe Seyes'. The satire shows knowledge of the new French Constitution (1799). Sieyès, however, was relegated to the conservative Senate, he and Ducos being the two first Senators. [8] 'DEMOCRATIC CONSOLATIONS. Buonaparte on his Couch, surrounded by the Ghosts of the Murder'd, - ye Dangers which threaten his Usurpation, and all the Horrors of Final Retribution.' He lies asleep on a truckle-bed whose head is a guillotine, through which looks a grinning demon, his hand on its cord. From under the bed Death with a spear looks up at Bonaparte, a hissing serpent beside him. Clouds and the flames of Hell, filled with minute demons, billow towards him from the left; from the clouds issue a hand holding out a pistol and a woman's hand with a cup of 'Poison'. In the background are close ranks of tiny ghosts; these include a bishop pierced by a dagger, a headless man holding his skull and wearing the order of St. Louis (? Louis XVI), a headless woman, a woman with an infant, a monk, a Turk' -- British Museum Hand-colored engraving caricature by and after Gillray, published 12 May 1800; 8 scenes in life of Napoleon. 'A sequence of eight designs, arranged in two rows. [1] 'DEMOCRATIC INNOCENCE. The young Buonaparte, & his wretched Relatives, in their native Poverty, while Free Booters in the Island of Corsica.' The interior of a wretched hut, a fire burning on an open hearth, a tattered cloth hanging from a line. On a heap of straw sits a fat ragged woman, nursing an infant who pulls her nose. Five ragged children fight round an empty dish (on an upturned tub) for a large bare bone which one (Napoleon) has seized and is gnawing. The father enters, carrying on his back a lean chamois; his dog barks at an angry cat who has caught a rat. An axe and sword hang from the rough stone wall. A grotesque travesty of the household of Carlo and Letizia Buonaparte. [2] 'DEMOCRATIC HUMILITY. Buonaparte, when a boy, receiv'd thro' the King's bounty into the École Militaire at Paris.' A stiff Court Chamberlain, like Lord Salisbury in caricature, leads by the hand the barefooted and ragged little Bonaparte, who advances trembling towards the chair at which sits the officer in command of the school, holding out his hand to the child in a friendly manner. On the table before him are plans of forts, books : 'Sur la Guerre' and 'Vauban'; an open book: 'Principe Militaire'. Three small cadets in uniform stand beside him, one holding 'Sur I'Exercise Manuel'. Crossed foils are on the floor. In the background beneath a portrait of Louis XVI (decapitated by the upper margin) are two rows of boys. There are a small cannon, a globe, a diagram of sword exercises, &c. Bonaparte, in 1779, aged nine, was admitted to the military school at Brienne, his expenses defrayed by Louis XVI. [3] 'DEMOCRATIC GRATITUDE. Buonaparte, heading the Regicide Banditti which had dethron'd & Murder'd the Monarch, whose bounty had foster'd him.' Bonaparte stands in back-view directing with outstretched sword the demolition and plundering of a stone building, already on fire. A man with an axe on a ladder smashes a royal escutcheon. Plunderers issue (right) carrying off bags, chests, &c. Plate, coins, jewels, and orders are heaped at Bonaparte's feet and an obsequious soldier empties a sack. On the left is a band of ragged soldiers with a tricolour flag inscribed 'Vive le Egalité'; they have firebrands, a pick-axe, pikes, &c. On 13th Vendémiaire (5 Oct. 1795) Bonaparte commanded the troops by which the Convention was defended from an insurrection which was partly royalist. [4] 'DEMOCRATIC RELIGION. Buonaparte turning Turk at Cairo for Interest; after swearing on the Sacrament to support ye Catholic Faith.' Bonaparte sits cross-legged on a sofa, smoking a hookah, while a Turkish priest puts a turban on his head. A fat Turk (left) reads from a book: 'Alcoran'; another whets a knife. On the right is a group of dismayed French officers; behind are impassive Turkish priests with folded arms. An arc of an ornate tent forms a background. [5] 'DEMOCRATIC COURAGE. Buonaparte, deserting his Army in Egypt, for fear of ye Turks; after boasting that he would extirpate them all'. A moonlight scene. Bonaparte, making furtive gestures of flight, stands in a boat which is rowed from the shore towards a ship. By the shore is a row of tents with tricolour flags, in which ragged French soldiers are asleep. Behind is an advancing army of Turkish soldiers. [6] 'DEMOCRATIC HONOR. Buonaparte, overturning the French Republic which had employ 'd him, & intrusted him with the chief Command.' Bonaparte, sabre in hand, directs files of Grenadiers who put to flight the members of the Council of Five Hundred, who are wearing their official dress. The president on his raised seat under a canopy inscribed 'Vive la Convention Une & Indivisible', screams in terror. (He was actually Lucien Bonaparte, whose assistance to his brother had been decisive.) Bonaparte tramples on the torn 'Constitution de I Ann: 3.' On the floor are 'Arrêts' and 'ordres'. The soldiers have a tricolour flag inscribed 'Liberté'. [7] 'DEMOCRATIC GLORY. Buonaparte, as Grand Consul of France, receiving the adulations of Jacobin Sycophants & Parasites.' He sits enthroned, wearing the dress and plumed hat of a Director; in his left hand is a sceptre on which is poised a figure of Fame. The high back of the throne is framed by two palm-trees, above it an eagle clutches a sheaf of thunderbolts and a terrestrial globe, indicating world domination. On his right kneel members of the Legislative Body; one, kneeling at the steps of the throne, holds out an 'Addresse du Corps Legislatif'. Opposite them (right) three men prostrate themselves, in grovelling servility, one holds a paper: 'Homage du Senat Conservatif'. Beside them are men standing with bowed heads; one holds out an 'Addresse de Tribunate'. At the back of the throne ranks of grenadiers stand at attention with fixed bayonets. A censer burns before Bonaparte. Sieyès peeps furtively from behind the throne, a finger to his nose; he holds an 'Ad[resse de] I'Abbe Seyes'. The satire shows knowledge of the new French Constitution (1799). Sieyès, however, was relegated to the conservative Senate, he and Ducos being the two first Senators. [8] 'DEMOCRATIC CONSOLATIONS. Buonaparte on his Couch, surrounded by the Ghosts of the Murder'd, - ye Dangers which threaten his Usurpation, and all the Horrors of Final Retribution.' He lies asleep on a truckle-bed whose head is a guillotine, through which looks a grinning demon, his hand on its cord. From under the bed Death with a spear looks up at Bonaparte, a hissing serpent beside him. Clouds and the flames of Hell, filled with minute demons, billow towards him from the left; from the clouds issue a hand holding out a pistol and a woman's hand with a cup of 'Poison'. In the background are close ranks of tiny ghosts; these include a bishop pierced by a dagger, a headless man holding his skull and wearing the order of St. Louis (? Louis XVI), a headless woman, a woman with an infant, a monk, a Turk' -- British Museum Oblong folio, matted; plate mark, margins intact; clean. London, Maggs, 1953.

These two plates are the third and fouth plates in an eight plate series chronicling the life of Napoleon. In the third plate, "Democratic Gratitude," Napoleon commands a group of angry Republicans to attack and to loot the palace of Louis XVI. In this case, the destruction that Napoleon levies against the King is satirized as evidence of his ingratitude for the military education he received at the cost of the state. The caption at the bottom of the image elucidates this: "Buonaparte heading the Regicide Bandetti which dethron'd & murder'd the Monarch whose bounty had foster'd him." George notes; "On 13 Vendemaire (Oct. 5, 1795), Bonaparte commanded the troops by which the Convention was defended from an insurrection which was partly royalist." In the fourth plate, "Democratic Religion," Napoleon sits on an oversized couch and smokes a waterpipe. A Muslim wearing long robes replaces Napoleon's hallmark black hat with a turban. Napoleon's inconsistency and lack of scruples is highlighted here. According to the caption: "Buonaparte turning turk at Cairo for Interest, after swearing on the Sacrament to support e/y Catholic Faith." A group of French officers look on with disapproval; behind them, Turkish priests stand with arms akimbo. These two plates are the third and fouth plates in an eight plate series chronicling the life of Napoleon. In the third plate, "Democratic Gratitude," Napoleon commands a group of angry Republicans to attack and to loot the palace of Louis XVI. In this case, the destruction that Napoleon levies against the King is satirized as evidence of his ingratitude for the military education he received at the cost of the state. The caption at the bottom of the image elucidates this: "Buonaparte heading the Regicide Bandetti which dethron'd & murder'd the Monarch whose bounty had foster'd him." George notes; "On 13 Vendemaire (Oct. 5, 1795), Bonaparte commanded the troops by which the Convention was defended from an insurrection which was partly royalist." In the fourth plate, "Democratic Religion," Napoleon sits on an oversized couch and smokes a waterpipe. A Muslim wearing long robes replaces Napoleon's hallmark black hat with a turban. Napoleon's inconsistency and lack of scruples is highlighted here. According to the caption: "Buonaparte turning turk at Cairo for Interest, after swearing on the Sacrament to support e/y Catholic Faith." A group of French officers look on with disapproval; behind them, Turkish priests stand with arms akimbo. Published by John Miller, 1800-05-12. British Museum, BM 9534. Notably, this print is a later copy after Gillray's original sheets and even reproduces the original mispellings of Napoleon's name. The publisher, John Miller, copied from Gillray and reduced the size of the images. Dates assigned are from Broadley's list-- n.b., Broadley also lists the publisher as Humphrey. Caption: Plate 1: Democratic Gratitude "Buonaparte heading the Regicide Banditti which dethron'd & Murder'd the Monarch whose bounty had foster'd him." Caption: Plate 2: Democratic Religion "Buonaparte turning Turk at Cairo for Interest, after swearing on the Sacrement to support y/e Catholic Faith." Printed Signature: James Gillray, Invt. Annotation: plates 3 & 4 of an 8 plate series London Published by John Miller Bridge Street & W. Blackwood Edinburgh

In these first two panels of an eight panel series Napoleon's youth is depicted. According to the caption, the first panel, titled "Democratic Innoce[n]ce" represents "The young Buonaparte and his wretched Relatives in their native Poverty while Free Booters in the Island of Corsica." Crammed into a dilapidated hut Napoleon and his young relations squabble over a soup bone. Their actions are echoed by a cat and dog engaged in a stand-off over a dead rat trapped under the cat's paw. The cooking cauldron in the left corner of the room is notably empty. A vulgar looking woman, Letizia Buonaparte, sits on a pile of straw and amuses an infant. Carlo Buonaparte enters the hut with a slight deer slung over his shoulder, presumably he brings long awaited food to his starving family. The second panel, titled "Democratic Humility," is captioned "Buonaparte when a boy received thro the King's bounty into the Ecole Militaire at Paris." Here Napoleon remains a ragged urchin and contrasts the ordered and mannered students who attend the school. Barefoot and clutching his hat in his hands, Napoleon greedily eyes the maps and books spreadout on the prefect's desk. As George notes, at the age of nine, in 1779, Napoleon was admitted to the military school at Brienne, his expenses defrayed by Louis XVI. Notably, this print is a later copy after Gillray's original sheets and even reproduces the original mispellings of Napoleon's name. The publisher, John Miller, copied from Gillray and reduced the size of the images. In these first two panels of an eight panel series Napoleon's youth is depicted. According to the caption, the first panel, titled "Democratic Innoce[n]ce" represents "The young Buonaparte and his wretched Relatives in their native Poverty while Free Booters in the Island of Corsica." Crammed into a dilapidated hut Napoleon and his young relations squabble over a soup bone. Their actions are echoed by a cat and dog engaged in a stand-off over a dead rat trapped under the cat's paw. The cooking cauldron in the left corner of the room is notably empty. A vulgar looking woman, Letizia Buonaparte, sits on a pile of straw and amuses an infant. Carlo Buonaparte enters the hut with a slight deer slung over his shoulder, presumably he brings long awaited food to his starving family. The second panel, titled "Democratic Humility," is captioned "Buonaparte when a boy received thro the King's bounty into the Ecole Militaire at Paris." Here Napoleon remains a ragged urchin and contrasts the ordered and mannered students who attend the school. Barefoot and clutching his hat in his hands, Napoleon greedily eyes the maps and books spreadout on the prefect's desk. As George notes, at the age of nine, in 1779, Napoleon was admitted to the military school at Brienne, his expenses defrayed by Louis XVI. Notably, this print is a later copy after Gillray's original sheets and even reproduces the original mispellings of Napoleon's name. The publisher, John Miller, copied from Gillray and reduced the size of the images. Published by John Miller, 1800-05-12. British Museum, BM 9534. Plate is not dated. Date assigned is by Broadley, who notes that the original publisher was Humphrey. Caption: Panel 1: "Democratic Innoce[n]ce" "The young Buonaparte and his wretched Relatives in their native Poverty while Free Booters in the Island of Corsica." Caption: Panel 2: "Democratic Humility" "Buonaparte when a boy received thro the King's bounty into the Ecole Militaire at Paris." Annotation: plates 1 & 2 Annotation: 4 plates 12/ London Published by John Miller Bridge Street & W. Blackwood Edinburgh

Aquatint by Gros after Moreau le Jeune, from original sketch by de la Borde; scene in palace salon showing Empress and ladies at right receiving envoy and suite at left. Aquatint by Gros after Moreau le Jeune, from original sketch by de la Borde; scene in palace salon showing Empress and ladies at right receiving envoy and suite at left. Small oblong folio; plate mark, margins partly worn away; soiled. N.Y., Rockman Prints, 1960.

Hand-colored copper engraving by M.G. after F.R.; review in city square with tall monument in center, background of buildings, officers and spectators in foreground. Hand-colored copper engraving by M.G. after F.R.; review in city square with tall monument in center, background of buildings, officers and spectators in foreground. Oblong folio; margins entirely trimmed away except at bottom; very yellowed and stained, worn. Leichtenstein-Hauslab Collection, 1951.

Tinted lithograph by and after Kollarz, printed by Rauh, dated 1853 by artist; arrival of mayor standing in barouche before church, cheering spectators in right foreground. Tinted lithograph by and after Kollarz, printed by Rauh, dated 1853 by artist; arrival of mayor standing in barouche before church, cheering spectators in right foreground. Large upright folio; margins intact; margins soiled, edges worn. Vienna, Christian Nebehay, 1958.

Partially hand colored lithograph by and after Wolf, dated "833" by artist' mounted uniform group of officers in city square before town palace of government building, small body of soldiers drawn up in right background. Partially hand colored lithograph by and after Wolf, dated "833" by artist' mounted uniform group of officers in city square before town palace of government building, small body of soldiers drawn up in right background. Large oblong folio; margins intact; margins torn, worn, soiled. New York, Rockman Prints, 1954.