Unsigned watercolor; full-length figure holding helmet, standing on balcony Unsigned watercolor; full-length figure holding helmet, standing on balcony Small upright folio. Manchester by the Sea, Bryant, 2011 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/)

Original watercolor signed by Proste (or Froste?); standing figure in uniform, shako on table at left, portfolio on floor at right. Possibly Joseph Hely who was commissioned Cornet and Riding Master in the 7th Hussars 10 April 1840 [The letters 'Jo' can be made out on the portfolio] Original watercolor signed by Proste (or Froste?); standing figure in uniform, shako on table at left, portfolio on floor at right. Possibly Joseph Hely who was commissioned Cornet and Riding Master in the 7th Hussars 10 April 1840 [The letters 'Jo' can be made out on the portfolio] Upright folio, matted; no margins; clean. Title supplied by cataloger. London, Parker Gallery, 1949.

1 water-color from album of costumes; woman tied to raised board being whipped by man, soldier looks on 1 water-color from album of costumes; woman tied to raised board being whipped by man, soldier looks on Small folio. New York, Augustin Fries, 1958. 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/)

One of a collection of 11 unsigned original watercolors by a Peruvian artist of uniform figures. Figure in red and blue holding sword. One of a collection of 11 unsigned original watercolors by a Peruvian artist of uniform figures. Figure in red and blue holding sword. Matted folio, unbound; in red cloth case, red leather back stamped gold "Peruvian Uniforms c. 1845 - Original Watercolors"; yellowed, corners torn, stained and repaired, wormholes. N.Y., Walter Wallace, 1952.

One of a collection of 14 mounted original crude watercolor drawings, dated January 1847 but unsigned, of full-length military portraits, outdoor backgrounds. Figure in red, white and blue, leaning on sword, houses and body of water in background. One of a collection of 14 mounted original crude watercolor drawings, dated January 1847 but unsigned, of full-length military portraits, outdoor backgrounds. Figure in red, white and blue, leaning on sword, houses and body of water in background. Unbound; in light blue cloth portfolio stamped gold; slightly worn.

Original unsigned watercolor; crude color portrait of hussar in royal blue jacket, scarlet trousers; rural scenery and buildings in background. Original unsigned watercolor; crude color portrait of hussar in royal blue jacket, scarlet trousers; rural scenery and buildings in background. Upright folio, matted; no margins; clean.

Copy print of a photograph of 69th Regiment Armory, N.Y.C., Ludlow and Grand St. Capt. Thomas Dempsey of Company E. The men shown in this picture are all veterans of the Civil War. Copy print of a photograph of 69th Regiment Armory, N.Y.C., Ludlow and Grand St. Capt. Thomas Dempsey of Company E. The men shown in this picture are all veterans of the Civil War. Oblong medium folio; margins.

The heavy drifts of snow that covered the Russian countryside have melted and transformed into a large body of water. The French troops, including Napoleon, are bobbing in the water and struggling towards dry land. In this satire Cruikshank provides a companion to his earlier engraving titled "Boney Hatching a Bulletin or Snug Winter Quarters!!!!" Napoleon is in the center of the image. He is immediately identifiable by his large bicorne hat topped with bedraggled plumes and dripping tassels. His boots kick out behind him in his attempts to swim for shore. As he swims, Napoleon casts an angry glance at his troops flailing in the water. In the foreground, several figures strive to keep their heads above water. To the left, a standard bearer wearing a long, limp mustache has fallen backwards into the choppy waves. At the right corner, a plump soldier wearing a liberty cap grasps the pigtail of a dragoon on horseback. In response, the officer cries out and pulls up on the reins. Comically, it is the dragoon's tail the soldier grasps, and not the horse's. In the distance, Allied troops can be distinguished forcing French soldiers held at bayonet point into the water. Thick clouds of smoke from the cannons obscure much of the landscape full of tall mountains and pines. George notes that this satire makes reference to a dispatch of 1 September, which was published on the 21st of the month in a British periodical, "An Extraordinary Gazette." The dispatch contained news of Blücher's victory over the French in the battle of the Katzbach that occurred near the Bober river. Significantly, George also writes that Napoleon was not in Katzbach, but in Dresden, where he had just beaten the Allies. The heavy drifts of snow that covered the Russian countryside have melted and transformed into a large body of water. The French troops, including Napoleon, are bobbing in the water and struggling towards dry land. In this satire Cruikshank provides a companion to his earlier engraving titled "Boney Hatching a Bulletin or Snug Winter Quarters!!!!" Napoleon is in the center of the image. He is immediately identifiable by his large bicorne hat topped with bedraggled plumes and dripping tassels. His boots kick out behind him in his attempts to swim for shore. As he swims, Napoleon casts an angry glance at his troops flailing in the water. In the foreground, several figures strive to keep their heads above water. To the left, a standard bearer wearing a long, limp mustache has fallen backwards into the choppy waves. At the right corner, a plump soldier wearing a liberty cap grasps the pigtail of a dragoon on horseback. In response, the officer cries out and pulls up on the reins. Comically, it is the dragoon's tail the soldier grasps, and not the horse's. In the distance, Allied troops can be distinguished forcing French soldiers held at bayonet point into the water. Thick clouds of smoke from the cannons obscure much of the landscape full of tall mountains and pines. George notes that this satire makes reference to a dispatch of 1 September, which was published on the 21st of the month in a British periodical, "An Extraordinary Gazette." The dispatch contained news of Blücher's victory over the French in the battle of the Katzbach that occurred near the Bober river. Significantly, George also writes that Napoleon was not in Katzbach, but in Dresden, where he had just beaten the Allies. Published by S. Knight. 1813-10-01 Caption: Pubd Octr 2d 1813 by S. Knight No 3 Sweetings Alley Royl Exchang Dialogue: Standard bearer (l.): "Oh! by Gar me no like dis vater vidout de vine." Dialogue: Napoleon: "D__n the Bober,--but I must put the best face on a bad business & tell my good people of Paris (credulous souls) that my Grand Army is in Snug Summer Quarters. (& I believe I may lie without fear of detection for few will escape to contradict or complain)--whoever, I must tell them, that we are going on in prime twig, quite, Swimmingly!!--& lay all the blame in that infernal Bore the River!!" Dialogue: Soldier in background: "Yes, upon my word, dis is de nice cool quarters." Dialogue: Dragoon on horseback: "O! D__n you sare let my Tail alone" Printed Signature: G. Cruikshank fect. Annotation: THI.53 Collector's Mark: A

Wash drawing signed and dated by Simpson, Feb. 1879; men sitting and standing around oven. From an album compiled by Simpson entitled 'Original sketches made in Afghanistan during the campaign of 1878-79 with the Peshawer Field Force'. Reproduced in the Illustrated London News, May 31, 1879. Wash drawing signed and dated by Simpson, Feb. 1879; men sitting and standing around oven. From an album compiled by Simpson entitled 'Original sketches made in Afghanistan during the campaign of 1878-79 with the Peshawer Field Force'. Reproduced in the Illustrated London News, May 31, 1879. Large upright folio. London, Walter Spencer, 1953. 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/)

Original pencil drawing with wash, signed and dated by Murphy, of the view from the side of one ship out to sea towards a convoy in the background. Original pencil drawing with wash, signed and dated by Murphy, of the view from the side of one ship out to sea towards a convoy in the background. Murphy joined the New York 7th Regiment in 1940 and trained at Camp Stewart, Georgia. He sailed to Australia in 1943 and served on General MacArthur's staff. Later he went to New Guinea and the Philippines before moving on to Japan following the surrender.

Original pen and ink and wash sketch of a convoy of warships, at midnight, in Southampton, England. Original pen and ink and wash sketch of a convoy of warships, at midnight, in Southampton, England. Stevenson enlisted in the U.S. Army Corps of Engineers in July 1941. He was one of the original soldier-artists at Fort Belvoir, VA. before accepting a position as a war artist in May 1943. In 1944 he was in southern England covering the preparations for the Normandy invasion and later depicted war damage in France and Germany. Gift of the artist, 1994.

Hand-colored etched caricature, published April 3, 1792; King George III, in uniform, and Queen Charlotte eating stacks of muffins at tea table. Hand-colored etched caricature, published April 3, 1792; King George III, in uniform, and Queen Charlotte eating stacks of muffins at tea table. Oblong folio; margins trimmed; soiled. N.Y., Walter Schatzki, 1971.

Sepia aquatint; counter-revolutionary satire directed against the generals of the French revolutionary armies showing Lafayette and 3 others marching along swinging what appear to be yo-yos. 'Advertised in the 'Journal de la Cour et de la Ville' for 9 January 1792' -- British Museum Sepia aquatint; counter-revolutionary satire directed against the generals of the French revolutionary armies showing Lafayette and 3 others marching along swinging what appear to be yo-yos. 'Advertised in the 'Journal de la Cour et de la Ville' for 9 January 1792' -- British Museum Oblong; plate mark, margins trimmed; clean. New York, Walter Schatzki, 1952. Caption: Air de Malborougk: L'general vat en guerre; Mironton ton ton Mirontaine; L'general vat en guerre; Avec roïal bombon; Avec roïal bombon; Et le roïal pituitte; Mironton ton ton Mirontaine; Et le roïal pituitte

One of a collection of 6 hand-colored engraved caricatures by and after Heath. Figure in full plate medival armor staring with scorn at a lancer who looks back at the knight through his monocle. One of a collection of 6 hand-colored engraved caricatures by and after Heath. Figure in full plate medival armor staring with scorn at a lancer who looks back at the knight through his monocle. Oblong folio, matted; plate mark, margins trimmed; yellowed and soiled. London, Parker Gallery, 1949.

Original watercolor, signed and dated by Warren; battle scene showing Prussian infantry led by mounted officer attacking French infantry in village square, trees, house, steeple in background. Original watercolor, signed and dated by Warren; battle scene showing Prussian infantry led by mounted officer attacking French infantry in village square, trees, house, steeple in background. Oblong folio, on gray paper mat; margins; clean. New York, Harry Hymes, 1947

One of a pair of hand-colored engravings by and after Wolffgang; costume figures. [See also: Ein Schiff Capitan von den Algierischen See-Raübern.] One of a pair of hand-colored engravings by and after Wolffgang; costume figures. [See also: Ein Schiff Capitan von den Algierischen See-Raübern.] Small upright folio; plate mark, margins trimmed; clean. N.Y., Walter Schatzki, 1968.

One of a pair of colored stipple and line engraved plates after Lasinio; oval bust portraits in uniform, with enframenents of trophies. [See also Gherardo Rosselmini Pisano]. One of a pair of colored stipple and line engraved plates after Lasinio; oval bust portraits in uniform, with enframenents of trophies. [See also Gherardo Rosselmini Pisano]. Upright; matted; plate marks. N.Y., Argosy, 1949.

9th in suite of 12 original unsigned ink and watercolor sketches, by Bradford, of uniform figures and groups; mounted guardsman in cape and bearskin hat, holding sabre to shoulder, facing left; smaller mounted guardsman in background; extensive notes below. 9th in suite of 12 original unsigned ink and watercolor sketches, by Bradford, of uniform figures and groups; mounted guardsman in cape and bearskin hat, holding sabre to shoulder, facing left; smaller mounted guardsman in background; extensive notes below. Small upright folio, matted; margins; clean; mounted in folio album of red marble boards, 1/4 red morocco back st. gold. London, Parker, 1964.

Two scenes of battle are contrasted. On the left, titled "The Game of Brag," Napoleon exhorts his troops to join him in the game of conquest. He stands in a dramatic profile pose; although his body is turned towards the viewer, the caricaturist has chosen to delineate his hallmark profile. In his right hand Napoleon carries a large sword and with his left gestures towards the edge of the image--beyond which is Great Britain. In typical fashion, Napoleon's enormous black hat is ostentatiously decorated, as is his uniform. Soldiers holding bayonets stand in orderly rows and wear pristine uniforms. The image on the right side of the sheet depicts "The Game of Hazard." Here, Napoleon and his troops have landed themselves in the choppy waters of the English Channel. In the distance, a warship explodes in a spectacular show of fire. Other ships, presumably French, are covered in billowing clouds of smoke. A British fort, proudly flying the flag, defends the coast with cannon fire that devastates the French Navy. Napoleon is in the foreground of this image. Half submerged in the water, he waves his arms and laments the loss of his "Invincibles," who drown and sink with him. Two scenes of battle are contrasted. On the left, titled "The Game of Brag," Napoleon exhorts his troops to join him in the game of conquest. He stands in a dramatic profile pose; although his body is turned towards the viewer, the caricaturist has chosen to delineate his hallmark profile. In his right hand Napoleon carries a large sword and with his left gestures towards the edge of the image--beyond which is Great Britain. In typical fashion, Napoleon's enormous black hat is ostentatiously decorated, as is his uniform. Soldiers holding bayonets stand in orderly rows and wear pristine uniforms. The image on the right side of the sheet depicts "The Game of Hazard." Here, Napoleon and his troops have landed themselves in the choppy waters of the English Channel. In the distance, a warship explodes in a spectacular show of fire. Other ships, presumably French, are covered in billowing clouds of smoke. A British fort, proudly flying the flag, defends the coast with cannon fire that devastates the French Navy. Napoleon is in the foreground of this image. Half submerged in the water, he waves his arms and laments the loss of his "Invincibles," who drown and sink with him. P. Roberts, Publisher, 18 Middlerow, Holborn, London. Autumn, 1803. Certainly, this image was printed in response to the British fears of French invasion that peaked in the summer of 1803. Caption: Londn. Pub. by P. Roberts 18 Middle row Holborn Dialogue: Napoleon: "Brave and Invincible Legions--who were never beaten but once and that in a case of necessity--observe that little Island--its riches are unbounded--therefore step with me over the water and every man shall have his share." Dialogue: Napoleon: "Oh my poor Invincibles-where are they? - Oh that I had staid home snug in the chimney corner."

One of a suite of 34 (of 35?) hand colored engraved plates by and after Labrousse, St. Sauveur direx., of uniforms, including 16 military and naval uniforms, 1 of Agent Maritime, 17 of diplomatic, judicial, official and legislative dress; lacking plate 6, Agent du Directoire Exécutif dans les Colonies Françaises, which appears in Italian edition but not in French or English editions. Figure in blue and red seated at table speaking to two recruits; ship seen through window. One of a suite of 34 (of 35?) hand colored engraved plates by and after Labrousse, St. Sauveur direx., of uniforms, including 16 military and naval uniforms, 1 of Agent Maritime, 17 of diplomatic, judicial, official and legislative dress; lacking plate 6, Agent du Directoire Exécutif dans les Colonies Françaises, which appears in Italian edition but not in French or English editions. Figure in blue and red seated at table speaking to two recruits; ship seen through window. Small, unbound, slightly yellowed; in blue cloth slipcase, maroon leather label stamped gold. Paris, Grangié sale, 1963.

From collection of 10 original ink and watercolor drawings signed by Lacoste of revolutionary scenes; revolutionaries carrying timber in foreground, others digging with spades; in background, others mounted on barricades. Possibly for Lacoste's print series 'La vie de Paris en 1848'. From collection of 10 original ink and watercolor drawings signed by Lacoste of revolutionary scenes; revolutionaries carrying timber in foreground, others digging with spades; in background, others mounted on barricades. Possibly for Lacoste's print series 'La vie de Paris en 1848'. Oblong medium folio, matted or mounted; clean. London, H.D. Lyon, 1967.

3rd in set of 3 engraved plates by Bartoli after Romano; Roman soldiers building stockade, under Emperor's supervision. After Giulio Romano's monochrome frescoes in the Sala di Costantino, in the Vatican Palace showing scenes from the life of Constantine and deeds of Clement VII 3rd in set of 3 engraved plates by Bartoli after Romano; Roman soldiers building stockade, under Emperor's supervision. After Giulio Romano's monochrome frescoes in the Sala di Costantino, in the Vatican Palace showing scenes from the life of Constantine and deeds of Clement VII Small narrow oblong folio; plate marks, margins trimmed; slight foxing. N.Y., Argosy, 1954.

Ink and wash drawing (by Simpson) inscribed with title, lower left; group of five firemen running along street watches by bystanders. Published in the Illustrated London News, June 18, 1870, page 637 Ink and wash drawing (by Simpson) inscribed with title, lower left; group of five firemen running along street watches by bystanders. Published in the Illustrated London News, June 18, 1870, page 637 Formerly in the collection of Perpetua Ingram; sold at Sotheby's May 22, 1997. New York, Swann Auction Galleries, 2015 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/)

In the center of the image, the Speaker of the House of Commons is bound and gagged by the invading French. The Speaker stands on a dais that has a narrow back into which is carved "This House is adjourned to Botany Bay--sine die." The platform is topped by George III's royal emblem, now partially covered by a blue cap labeled "Égalité." An overturned table lies in front of him. Sheaves of paper and various volumes titled "Magna Charta," "Hanover Succession," "Claim of Rights," "Journal of the House," and "Declaration of Rights" spill onto the floor towards the viewer. To the right of the scene, a French soldier, very likely Napoleon, observes with a scowl. He stands in a commanding pose, one hand on the hilt of his sword, while the other rests on his hip. Several orderly rows of grotesque French soldiers stand at attention behind him. They look on with impassive expressions and carry long bayonets that stick up from the wall their bodies have made. On the left of the chamber, members of the House are "dressed in the Uniform of the Convict from Botany-Bay, to wit, Coats of two Colours, long Breeches [i.e. trousers], no Stockings, & their Heads close shaved..." (taken from George's transcription of the explanatory plate). Additionally, these figures are all bound to each other by two sets of chains. The first passes from neck collar to neck collar and the second links the manacles they wear on their wrists. Slightly set apart from these figures, Pitt and Dundas are shackled back-to-back by their necks, their upper arms, and their ankles. Fox and Sheridan make their appearance in the right foreground of the image. As George notes, they are so heavily caricatured that they are indistinguishable from each other. One is a blacksmith, and the other is drawn in the guise of a cobbler. Figures in the gallery above the floor cheer the invasion and wave their hats in the air. This reprinting of Gillray's collected satires was bound in a two-volume series and sold in an uncolored condition. Judging by the quality of the pigments used, the coloring is a recent addition. Additional evidence to the origin of this sheet can be found on the verso on which there is an uncolored impression of an image cut from the same album. In the center of the image, the Speaker of the House of Commons is bound and gagged by the invading French. The Speaker stands on a dais that has a narrow back into which is carved "This House is adjourned to Botany Bay--sine die." The platform is topped by George III's royal emblem, now partially covered by a blue cap labeled "Égalité." An overturned table lies in front of him. Sheaves of paper and various volumes titled "Magna Charta," "Hanover Succession," "Claim of Rights," "Journal of the House," and "Declaration of Rights" spill onto the floor towards the viewer. To the right of the scene, a French soldier, very likely Napoleon, observes with a scowl. He stands in a commanding pose, one hand on the hilt of his sword, while the other rests on his hip. Several orderly rows of grotesque French soldiers stand at attention behind him. They look on with impassive expressions and carry long bayonets that stick up from the wall their bodies have made. On the left of the chamber, members of the House are "dressed in the Uniform of the Convict from Botany-Bay, to wit, Coats of two Colours, long Breeches [i.e. trousers], no Stockings, & their Heads close shaved..." (taken from George's transcription of the explanatory plate). Additionally, these figures are all bound to each other by two sets of chains. The first passes from neck collar to neck collar and the second links the manacles they wear on their wrists. Slightly set apart from these figures, Pitt and Dundas are shackled back-to-back by their necks, their upper arms, and their ankles. Fox and Sheridan make their appearance in the right foreground of the image. As George notes, they are so heavily caricatured that they are indistinguishable from each other. One is a blacksmith, and the other is drawn in the guise of a cobbler. Figures in the gallery above the floor cheer the invasion and wave their hats in the air. This reprinting of Gillray's collected satires was bound in a two-volume series and sold in an uncolored condition. Judging by the quality of the pigments used, the coloring is a recent addition. Additional evidence to the origin of this sheet can be found on the verso on which there is an uncolored impression of an image cut from the same album. Published in 1798. Printed in 1830 from Gillray's original plate by Thomas McLean. Color is also a later addition. Mary George notes that originally a second plate was impressed underneath the title of this image. The second plate, missing from the Hay's copy, contained a detailed explanation of the personnages and the activities occurring in the image. 1798/03/01 Caption: Sir John Dalrymple inv. Caption: London. Pubd March 1st 1798. by Js Gillray, 27 St. James's Street

An uncolored impression. One image in a series of four prints that imagines the aftermath of a French invasion of Britain. This image depicts the effects the invasion would have on religion and on the courts. Here a French Judge (who has replaced his British counterparts) allows French looters to murder a priest and destroy a Catholic church. In the center of the image, a Priest is dragged from his church by three French soldiers whose uniforms are decorated with symbols of the French Revolution. The Priest wears a large cross around his neck and a flowing habit edged with lace (suggestive of a night shirt). One French figure stands behind the Priest and prepares to plunge a dagger into his back. Another attacks him from the front, tugging at the cross while raising a boot to kick him in the stomach. The third Frenchman stomps on a pile of church artifacts--crucifix, chalice, crozier, rosary and host--all objects sacred to the faith. The church has been looted and destroyed. Two sculptures that flank the church door have been broken in their niches. On the left all that remains of a crucifix is the bottom of the cross and an inscription "Ecce Homo." On the right, the sculptures of the Madonna and Child in the niche inscribed "Santa Maria" have been beheaded (a reference to the beheading of the Bourbon royalty). he cross over the church door has also been vandalized and is now topped by a bonnet rouge. A member of "the high Court of Justice" (left) steals past the scene. He looks sideways at the marauding soldiers and the helpless priest with an approving grimace. An uncolored impression. One image in a series of four prints that imagines the aftermath of a French invasion of Britain. This image depicts the effects the invasion would have on religion and on the courts. Here a French Judge (who has replaced his British counterparts) allows French looters to murder a priest and destroy a Catholic church. In the center of the image, a Priest is dragged from his church by three French soldiers whose uniforms are decorated with symbols of the French Revolution. The Priest wears a large cross around his neck and a flowing habit edged with lace (suggestive of a night shirt). One French figure stands behind the Priest and prepares to plunge a dagger into his back. Another attacks him from the front, tugging at the cross while raising a boot to kick him in the stomach. The third Frenchman stomps on a pile of church artifacts--crucifix, chalice, crozier, rosary and host--all objects sacred to the faith. The church has been looted and destroyed. Two sculptures that flank the church door have been broken in their niches. On the left all that remains of a crucifix is the bottom of the cross and an inscription "Ecce Homo." On the right, the sculptures of the Madonna and Child in the niche inscribed "Santa Maria" have been beheaded (a reference to the beheading of the Bourbon royalty). he cross over the church door has also been vandalized and is now topped by a bonnet rouge. A member of "the high Court of Justice" (left) steals past the scene. He looks sideways at the marauding soldiers and the helpless priest with an approving grimace. Title: Consequences of a Successfull French Invasion Title: No. VI, Plate 1st. - We Fly on the Wings of the Wind to Save the Irish Catholics from Persecution. Scene. The front of a Popish Chapel. Inscription: London Pubd. March 6th 1798, by Js. Gillray, 2 7 St. James's Street. Price, 6d. - Colourd 1s/8d Printed Signature: Sir John Dalrymple invt. Printed Signature: Js. Gillray fecit. Text: Description. A Priest driven out of his Chapel, A French Sol-/dier trampling on Crucifies & Mitres, another kicking the/Priest, A Gracefull Old Man; & a third stabbing him with a/ Dagger behind: A "Membre de la haute Coeur de Justice," (in English/a Member of the high Court of Justice, in his habit of Office, who / has learnt to speak the English language well, by going/much to the Play-House, (having long been a Player/ himself,) says in the words of Othello - "Good,/ "very Good, the Justice of it pleases, even on the/ '"Stage of his own Imposition,' - and its is/ "thus, that the gratitude of the French Republic/"always pays Three Favors for One."

This is an uncolored version, printed in red ink. This is an uncolored version, printed in red ink. London. Pub'd March 1st 1798, by Js Gillray, 27 St James's Street -- Price 6d -- Colourd 1sh 3d. Text: Description -- "A Row of English People in Tatters, and wooden Shoes, hoeing a Field of Garlic. A tall raw-boned Frenchman, with a long Queue behind, like a Negro Driver with a long Waggoner's Whip in each Hand, walking by their side. The people very sulky, but tolerably obedient & tractable for so short a Time; John Bull being a bad Lad only when you are very good to him. The Group of the hoers are, a Husbandman, his Wife, a Manufacturer, a Curate, & an Old man; -- in another Part of the Field, four other English people, a Father & Son (Husbandmen) with two Seamen, in a Yoke, drawing a Plough; a French Farmer guiding it with one Hand, & with the other flourishing & cracking a French Postillion's long Whip; a French Boy walking by the side of the Yoke with a Goad, which has a Point as sharp as a Needle. the French Hoe-driver gives his Instructions thus; "Jacques Roast-Beef, hoe straight, deep, quick & rest not." -- The Instructions of the French Holder of the Plough are --"Monsieur John Bull mon Ami." (in English) My Friend, Mr John Bull, pull hard, plough deep, trot quick, turn sudden, & rest not," -- A Messager d'Etat, (in English) A Messenger of State in his Habit of Office, with a Letter in his Hand, comes to hurry on the work for the Exigencies of War. -- In another part of the Plate stand the Farm Offices; a vast oak, withered, above them, -- A Caldron boiling, on which is engraved, Soup Maigre, with a stack of Onions & Turnips close by it. On a large Board is painted -- "Regulations of this Farm, -- "At Five o'clock in the Morning the Hogs & English Slaves are to be fed; at Twelve o'Clock at Nigh they are to be suppered, & littered up with the best Straw that the Scotch & Irish part of the Slaves can steal from the neighbouring Farms, & then locked up. But there are Holes in the Bottom of the Walls for the Hogs to go out, & get the Benefit of Fresh Air. -- Punishment of Laziness, for the first Offence, five hundred Lashes; for the second, the Guillotine. All other Crimes, except those which affect Frenchmen, are forgiven on Promise of Amendment." -- A Ballad is lying on the Ground in the English Language, entitled "Recantation of British & Irish Republican Husbandmen & Manufacturers. -- The Burden of the Song is -- "Oh, England, England! / "King, Wife, Sons & Daughters of our King, of /"whom the Sons are all brave, & the Daughters / "all beautiful: Parliament Judges, who covered / "us with Blessings, which are repaid with Reproaches. / "Clergy who taught us to die as well as to live for / "our country -- Landaff, Landaff. -- Nobles & / "Squires in whose Hospitality & Bounty we shared. -- / "St Vincent & Duncans. Merchants, Master Manufacturer[s] / "who lived as simply as ourselves, but both of us well; "how could we forget you? You would not have de- / "serted us; but we deserted you. -- But with the same / "Weapons which should have defended you, we will / "punish ourselves. We despise Life, we could submit to / "Misfortune, but cannot bear the Consciousness of / "not having stood or fallen with you. Oh England, / "England, Country of every Bliss, for ever farewell!"

One of a suite of 34 (of 35?) hand colored engraved plates by and after Labrousse, St. Sauveur direx., of uniforms, including 16 military and naval uniforms, 1 of Agent Maritime, 17 of diplomatic, judicial, official and legislative dress; lacking plate 6, Agent du Directoire Exécutif dans les Colonies Françaises, which appears in Italian edition but not in French or English editions. Scene from inside the Council of Elders. One of a suite of 34 (of 35?) hand colored engraved plates by and after Labrousse, St. Sauveur direx., of uniforms, including 16 military and naval uniforms, 1 of Agent Maritime, 17 of diplomatic, judicial, official and legislative dress; lacking plate 6, Agent du Directoire Exécutif dans les Colonies Françaises, which appears in Italian edition but not in French or English editions. Scene from inside the Council of Elders. Small, unbound, slightly yellowed; in blue cloth slipcase, maroon leather label stamped gold. Paris, Grangié sale, 1963.

3rd in collection of 12 mounted lithographic caricatures; French sergeant separating 2 arguing recruits. 3rd in collection of 12 mounted lithographic caricatures; French sergeant separating 2 arguing recruits. Small square folio, glued to larger backing sheet; margins trimmed; clean; in blue cloth portfolio, red leather label stamped gold, "Charlet, Miscellaneous Lithographs." Paris, Duchartre, 1958

Lithograph by Delpech after Adam, dated by Adam (1828); cavalryman bargains with stableman over recalcitrant horse in foreground; farm buildings, other soldiers in background. Lithograph by Delpech after Adam, dated by Adam (1828); cavalryman bargains with stableman over recalcitrant horse in foreground; farm buildings, other soldiers in background. Small oblong folio, 3 prints [cf. FrP1828mf-4b-c]; mounted on buff paper; margins; slight foxing.

16th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; profile view of standing officer in blue uniform and elaborate cocked hat, facing left, writing in small notebook, outdoors. 16th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; profile view of standing officer in blue uniform and elaborate cocked hat, facing left, writing in small notebook, outdoors. Folio, unbound; in red cloth case, red morocco back stamped gold "Feyerabend - die Eidgenössischen Truppen - Basel 1792". Zurich, August Laube, 1954.