Three-quarter length portrait of Isaac F. Shepard in uniform, seated, turned slightly to the left and holding his sword in his left hand, his hat on a table beside him. In the background is a military encampment Three-quarter length portrait of Isaac F. Shepard in uniform, seated, turned slightly to the left and holding his sword in his left hand, his hat on a table beside him. In the background is a military encampment Composed and respectfully dedicated to Isaac F. Shepard Esq., Commander by D.L. Downing Image in oval shape with a border of flowers and scrollwork

Original pencil sketch of a soldier (gunner's mate?) standing at ease. [See also: 2nd Class Gunner's Mate Snider and Signalman 2nd Class Bobo.] Original pencil sketch of a soldier (gunner's mate?) standing at ease. [See also: 2nd Class Gunner's Mate Snider and Signalman 2nd Class Bobo.] 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.

5th in suite of 9 hand-colored drypoint(?) drawings, signed and dated by Greter, showing hussar uniforms; mounted hussar in teal jacket, scarlet trousers, gold trim, holding sabre, looking back toward left. 5th in suite of 9 hand-colored drypoint(?) drawings, signed and dated by Greter, showing hussar uniforms; mounted hussar in teal jacket, scarlet trousers, gold trim, holding sabre, looking back toward left. Unbound; in green cloth portfolio st. red on cover. N.Y., Rockman, 1949.

1 of 49 hand-colored engravings of single figures in uniform by and after Voigts. From 'Darstellung des uniforme der Königlich-Dänischen armee. In Ueberein Stimmung mit dem Königlich Reglement gezeichnet. MDCCCXVIII. D. Voigts fecit frem: Lieutenant im Holst Lanz Rgmt' (1818). 1 of 49 hand-colored engravings of single figures in uniform by and after Voigts. From 'Darstellung des uniforme der Königlich-Dänischen armee. In Ueberein Stimmung mit dem Königlich Reglement gezeichnet. MDCCCXVIII. D. Voigts fecit frem: Lieutenant im Holst Lanz Rgmt' (1818). Folio. Book-plate of Grand Duke Paul Alexandrovitch Paris, G. Salet, 1951. 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/)

5th in collection of 8 unsigned watercolors (by Lawson) of uniform figures, after original drawings; standing figure of trumpeter in navy blue coat, white trousers, yellow turban and trim. 5th in collection of 8 unsigned watercolors (by Lawson) of uniform figures, after original drawings; standing figure of trumpeter in navy blue coat, white trousers, yellow turban and trim. Narrow, unbound; clean; in red cloth case, green leather label st. gold, "Indian State Troops..." London, Lawson, 1959.

Arr. for piano Includes solo bugle cues composed expressly for and most respectfully dedicated to Captain T. O. Duncan by Frank Johnson Hand-colored cover lithographic illustration by and after Wm. Huddy: Thomas O. Duncan with bugler in landscape background

Arranged for piano Includes solo bugle cues composed expressly for and most respectfully dedicated to Captain T. O. Duncan by Frank Johnson Cover lithographic illustration by and after Wm. Huddy: Thomas O. Duncan with bugler in landscape background

Original ink and watercolor sketch, dated and name-stamped by Stevenson; street scene of ramshackle commercial area, with bar and liquor establishments; blue automobile parked at right, street signs, telephone pole, people lounging or standing along street. Original ink and watercolor sketch, dated and name-stamped by Stevenson; street scene of ramshackle commercial area, with bar and liquor establishments; blue automobile parked at right, street signs, telephone pole, people lounging or standing along street. 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.

Pencil and wash drawing signed by Simpson; half-length portrait of soldier holding kukri. 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, June 21, 1879. Pencil and wash drawing signed by Simpson; half-length portrait of soldier holding kukri. 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, June 21, 1879. Large upright folio. Walter London, 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/)

Horrific creatures recalling Hieronymous Bosch's hybrids plague Napoleon and wake him from his dreams. Here, the grotesque figures drawn by the satirist's pen take form and substance to attack and dement Napoleon's imagination. Representing the atrocities Napoleon committed during his campaigns and rise to power, the figures rising from the right of the sheet announce themselves: "I am Polon," "I am Toussaint," "I am one of your soldiers poisoned in the hospitals of Egypt," "We are the Turkish Prisoners murdered at Jaffa," "I am D'Engheim the blood of your King," "Remember Capt. Wright," "I am Pichegru," "I am George." Other figures support a banner inscribed: "Morning Post, Courier, Peltier, Ambigu, Satirist, Gillray's Caricatures, &c., &c." At the left of the sheet, a Demon nurses Napoleon's son and commands "Dear image of my Darling Nap, suck milk of Hell instead of pap." The imperial eagle takes flight crying: "Wretch I leave thee forever," while Napoleon pleads, "Duroc, Savary, Roustan, aux armes, aux armes." During all this commotion, Marie Louise sleeps peacefully besides Napoleon. At the right of the image, Britannia and her lion are surrounded by allegorical figures symbolizing liberty and abundance. These figures are seated on a classical platform supported by a column bearing the inscription, "G III REX." An angel announces: "Napoleon, lo! Britannia still enjoys the blessings of her constitution_surrounded by Liberty, Commerce and Plenty, supported by her heroes_and attended by public felicity, she defies thy machinations." Horrific creatures recalling Hieronymous Bosch's hybrids plague Napoleon and wake him from his dreams. Here, the grotesque figures drawn by the satirist's pen take form and substance to attack and dement Napoleon's imagination. Representing the atrocities Napoleon committed during his campaigns and rise to power, the figures rising from the right of the sheet announce themselves: "I am Polon," "I am Toussaint," "I am one of your soldiers poisoned in the hospitals of Egypt," "We are the Turkish Prisoners murdered at Jaffa," "I am D'Engheim the blood of your King," "Remember Capt. Wright," "I am Pichegru," "I am George." Other figures support a banner inscribed: "Morning Post, Courier, Peltier, Ambigu, Satirist, Gillray's Caricatures, &c., &c." At the left of the sheet, a Demon nurses Napoleon's son and commands "Dear image of my Darling Nap, suck milk of Hell instead of pap." The imperial eagle takes flight crying: "Wretch I leave thee forever," while Napoleon pleads, "Duroc, Savary, Roustan, aux armes, aux armes." During all this commotion, Marie Louise sleeps peacefully besides Napoleon. At the right of the image, Britannia and her lion are surrounded by allegorical figures symbolizing liberty and abundance. These figures are seated on a classical platform supported by a column bearing the inscription, "G III REX." An angel announces: "Napoleon, lo! Britannia still enjoys the blessings of her constitution_surrounded by Liberty, Commerce and Plenty, supported by her heroes_and attended by public felicity, she defies thy machinations." Published by Tipper for 'The Satirist,' 1811-09-01. Signed 'Caricaturist General fecit.' George notes that this satire is 'an illustration to 'The Vision of Buonaparte,' translated from L'Ambigu, no. 288, and proporting to be the Emperor's account of a dream the night after his son's birth.' Inscription: Published for the Satirist Printed Signature: Caricaturist General fecit.

One of 2 color lithograph caricatures by and after H. Daumier; Zouaves and civilians drinking wine in camp. One of 2 color lithograph caricatures by and after H. Daumier; Zouaves and civilians drinking wine in camp. Upright folio, one of 2 prints; margins intact; yellowed; in blue cloth portfolio, red leather label stamped gold: "French Caricatures ca. 1830-48." S. Lincoln, Mass., Marino, 1962.

Hand colored etched caricature by and after Cruikshank, pubkished Augt. 12, 1822; full-length portrait of very stout man (Sir William Curtis) in Highland dress, outdoors. Hand colored etched caricature by and after Cruikshank, pubkished Augt. 12, 1822; full-length portrait of very stout man (Sir William Curtis) in Highland dress, outdoors. Upright medium folio, matted; margins severely trimmed; clean. N.Y., Rockman Prints, 1952.

Hand-colored photograph of full-length figure standing in uniform holding sword standing by chair. Hand-colored photograph of full-length figure standing in uniform holding sword standing by chair. Photographed by Erwin Hanfstaengl, also known as Erwin frères, a German photographer, who began working in Paris in 1861 (information courtesy of Wouter Lambrechts, Antwerp, Belgium) Digital object made available by: Brown University Library, John Hay Library, Box A, Brown University, Providence, RI, 02912, U.S.A., (http://library.brown.edu/)

One of a collection of 21 etched plates of battle and siege scenes. From: Famiano Strada, 'De Bello Gallico'. One of a collection of 21 etched plates of battle and siege scenes. From: Famiano Strada, 'De Bello Gallico'. Folio, unbound; in tan cloth portfolio stamped gold.

Two rows of gaunt soldiers pull Napoleon and his small house from the left to the right of the image. The soldiers, who are burdened with heavy knapsacks and their weapons, throw their weight into their duty. A tall and cruel officer drives the team of soldiers forward with a large knotted whip. In contrast to the shabby, threadbare clothing and worn out shoes of the soldiers, the officer's uniform is elegant and immaculate. Napoleon is depicted in profile and leans out of a large window cut under the eave at the side of the house. Although the house is itself quite simple, Napoleon's window is ornamented with fluted columns and is topped by a bonnet rouge. Underneath the ledge, a guillotine is represented, over which flies a banner labeled "Liberté Toute Entière." Napoleon wears a dress uniform and gestures grandly towards the soldiers demanding that their driver hurry them along. A door and another window are located on the broad side of the house. The door closest to Napoleon's window is topped by a plaque that reads "Grande Chambre for receive de Petitions from de Englishmen." At the door's left, a plain window is cut into the wall. A cook gripping a knife leans out from this window and points his nose in the direction the house is headed. Above his window a plaque is inscribed "Cuisine for roast de English Beef ma Foi." Additionally, bunches of garlic or onions and a frog can be seen hanging from the rafters of the kitchen and are labeled "To season de Beef." The sheet has darkened with age. Also shows signs of water damage and staining. In some areas, along creases, the sheet coloring has been rubbed from the image. Two rows of gaunt soldiers pull Napoleon and his small house from the left to the right of the image. The soldiers, who are burdened with heavy knapsacks and their weapons, throw their weight into their duty. A tall and cruel officer drives the team of soldiers forward with a large knotted whip. In contrast to the shabby, threadbare clothing and worn out shoes of the soldiers, the officer's uniform is elegant and immaculate. Napoleon is depicted in profile and leans out of a large window cut under the eave at the side of the house. Although the house is itself quite simple, Napoleon's window is ornamented with fluted columns and is topped by a bonnet rouge. Underneath the ledge, a guillotine is represented, over which flies a banner labeled "Liberté Toute Entière." Napoleon wears a dress uniform and gestures grandly towards the soldiers demanding that their driver hurry them along. A door and another window are located on the broad side of the house. The door closest to Napoleon's window is topped by a plaque that reads "Grande Chambre for receive de Petitions from de Englishmen." At the door's left, a plain window is cut into the wall. A cook gripping a knife leans out from this window and points his nose in the direction the house is headed. Above his window a plaque is inscribed "Cuisine for roast de English Beef ma Foi." Additionally, bunches of garlic or onions and a frog can be seen hanging from the rafters of the kitchen and are labeled "To season de Beef." The sheet has darkened with age. Also shows signs of water damage and staining. In some areas, along creases, the sheet coloring has been rubbed from the image. Published by Samuel W. Fores. 1803-11-28 Caption: Pubd Novr 28 1803 by S W Fores No 50 Piccadilly Dialogue: Cook (l.): "Me no smell de Beef Yet." Dialogue: Napoleon (center): "You Vagabones make haste, Vite, Vite, or [I shall never] get to London by Christmass, give them more of the Fraternal Whip the Dam Rascals do not know the Value of Liberty!!"

Standing in the center of the image, Napoleon turns to address a French officer on his right. Napoleon extends his left hand and gestures towards the ruins of a stone bridge that he describes as a "Shocking Accident." The officer removes his hat and timidly suggests that the destruction of the bridge was the act of the "Austrian Fire Boats" and therefore, no accident. Several French grenadiers stand behind the officer and look on with dismay, either at the claims of Napoleon, or at those of the officer. On the far right of the image, an army, led by the Arch Duke of Austria on horseback approaches. Flags and guns held high, they celebrate by singing a perverse rhyme based on the nursery rhyme "London Bridge." Standing in the center of the image, Napoleon turns to address a French officer on his right. Napoleon extends his left hand and gestures towards the ruins of a stone bridge that he describes as a "Shocking Accident." The officer removes his hat and timidly suggests that the destruction of the bridge was the act of the "Austrian Fire Boats" and therefore, no accident. Several French grenadiers stand behind the officer and look on with dismay, either at the claims of Napoleon, or at those of the officer. On the far right of the image, an army, led by the Arch Duke of Austria on horseback approaches. Flags and guns held high, they celebrate by singing a perverse rhyme based on the nursery rhyme "London Bridge." Published by R. Ackermann. George notes that this satire parodies Napoleon's bulletin in which he claimed that the bridge was destroyed by 'floating timber.' In actuality, the bridge was destroyed by Austrian barges. (vol. viii, 811) 1809-06-12 Caption: Pubd June 12th by R. Ackermann No 101 Strand Dialogue: French Officer (l.): "With all due defference to your little Majesty--it was the Austrian Fire Boats that destroyed the Bridge." Napoleon: "Ah! who is it that dares contradict me. I say it was some floating timber, and the swell of the river that caused the Shocking Accident." Archduke Charles and rank of Austrian soldiers: "Boneys Bridge is broken down/ Dance over the Lady Lea/ Boney's Bridge is broken down By an Arch-Duke-ee!!" Annotation: 47/1 Collector's Mark: A

In this print, Napoleon poses as a diabolical Colossus of Rhodes. He stands astride a mountainous island and curses the sun, at the center of which is a portrait medallion of George, Prince Regent. Napoleon is more devil than man; he has cloven feet and legs covered in hair, black wings sprout from his shoulders, and horns grow from his hat. The uniform Napoleon wears and the tricolore he clutches around his figure are in tatters. The Prince Regent beams down rays which dispell the billowing clouds forming over Napoleon on his island exile. In this print, Napoleon poses as a diabolical Colossus of Rhodes. He stands astride a mountainous island and curses the sun, at the center of which is a portrait medallion of George, Prince Regent. Napoleon is more devil than man; he has cloven feet and legs covered in hair, black wings sprout from his shoulders, and horns grow from his hat. The uniform Napoleon wears and the tricolore he clutches around his figure are in tatters. The Prince Regent beams down rays which dispell the billowing clouds forming over Napoleon on his island exile. Published by Hannah Humphrey,1813-08-00. This image is an adaptation of Gillray's 1782 caricature, 'Gloria Mundi, or--The Devil addressing the Sun.' In Gillray's sheet, Fox took the part of the Devil, and a portrait of Shelburne formed the center of the sun. Caption: Pubd. August 1815 by H. Hujphrey St. James's St. Dialogue: Napoleon: "To thee I call, But with no friendly voice & add thy name- G_P_Rt! to tell thee how I hate thy beams, that bring to my remembrance from what state I fell." Printed Signature: George Cruikshank fect. George Humphrey invt. Label(s): "Alexander," "Fredk. William," "Francis," "William 1st of Orange," "Wellington," "Blucher," "Hill," "Beresford," "Anglesea."

While this sheet is not a satirical representation of Blücher, it shares many of the characteristics of print satires and other popular prints. Blücher is shown having just woken from the modest bed on which he sits facing the viewer. Dressing for the day, he pulls his boots on using hooks attached to the straps, and swears to catch Napoleon. At the side of his bed, a table is set up with his hat, sword, pocket watch and tobacco box. A sheet of paper on the floor reads "Blücher, Nap has broke loose and at his trick again, go and quiet him. Frederick." This warning sent by Frederick I indicates the cause for Blücher's hasty departure. It also suggests that of the allies, Blücher is the only one capable of containing the menace that is Napoleon. While this sheet is not a satirical representation of Blücher, it shares many of the characteristics of print satires and other popular prints. Blücher is shown having just woken from the modest bed on which he sits facing the viewer. Dressing for the day, he pulls his boots on using hooks attached to the straps, and swears to catch Napoleon. At the side of his bed, a table is set up with his hat, sword, pocket watch and tobacco box. A sheet of paper on the floor reads "Blücher, Nap has broke loose and at his trick again, go and quiet him. Frederick." This warning sent by Frederick I indicates the cause for Blücher's hasty departure. It also suggests that of the allies, Blücher is the only one capable of containing the menace that is Napoleon. This print is not signed by the engraver. Dialogue: Blücher: "I will quiet him! If I catch him D.... me I'll hang him!" Inscription: London, Pubd, March 20th, 1815 by J. Johnson 98 cheap sid[e].

The French cavalry is assembled in rows at the left of the sheet. Instead of horses, they each ride hobby horses; complete with false boots and crimson skirts intended to conceal the feet of the "riders" visible underneath. A cavalry officer, also on a hobby horse, stands in the center of the image and addresses the ranks, encouraging them to play up the masquerade. The illusion they embark on is a necessary one because the French Cavalry was destroyed by the campaign. Napoleon stands behind the officer and turns with crossed arms to speak with the general behind him. Clearly pleased with the ruse, Napoleon claims that the Cossacks will take the cavalry and their horses for the real thing. The two officers behind him praise the cleverness of the ruse. One even comments that the hobby horses are ideal for the Russian Campaign since they don't mind the extreme hardships they must endure. By implication, the satire suggests that the cavalry riders are more expendable than the horses. The French cavalry is assembled in rows at the left of the sheet. Instead of horses, they each ride hobby horses; complete with false boots and crimson skirts intended to conceal the feet of the "riders" visible underneath. A cavalry officer, also on a hobby horse, stands in the center of the image and addresses the ranks, encouraging them to play up the masquerade. The illusion they embark on is a necessary one because the French Cavalry was destroyed by the campaign. Napoleon stands behind the officer and turns with crossed arms to speak with the general behind him. Clearly pleased with the ruse, Napoleon claims that the Cossacks will take the cavalry and their horses for the real thing. The two officers behind him praise the cleverness of the ruse. One even comments that the hobby horses are ideal for the Russian Campaign since they don't mind the extreme hardships they must endure. By implication, the satire suggests that the cavalry riders are more expendable than the horses. Published by Thomas Tegg. 1813-05-04 Caption: Pubd May 4th 1813 by Thos Tegg, 111 Cheapside. price 1 shillg color'd Dialogue: French Cavalry officer on horse: "Attention! Strut; look big; and make your Hobbies prance; we'll make the foe believe there's Cavalry in France." Napoleon: "Eh bien general vat you tink of dis Ruse de Guerre, dey vill make de Cossak run ma foi!" General: "Oui Sire! tis very good trick indeed!" Officer at far right: "Very good horse for de Russia Campaign they no mind the cold nor de hunger." Annotation: THI.53 Annotation: eo Collector's Mark: A Plate Mark: 192 Verse: As War is Boney's Hobby then, /Why not on Hobbies mount his men.

This image depicts an elegantly decorated living room. At the left of the sheet, a nurse, seated by the fire, holds the heir to the throne across her knees. Ladies in waiting standing by react to the interruption of their peaceful afternoon. Napoleon, carried high on the shoulders of the Devil, enters from the right. In rushing to greet her "hero," Marie Louise's crown falls backwards off her head into the outstretched hands of her lady in waiting. In this action, Cruikshank indicates that Napoleon's defeat in Russia has put his empire in jeopardy. Battered and paralyzed with frostbite, Napoleon clutches his savior's horns and laments his loss. Comically, the cloven-foot Devil instructs Marie Louise to put Napoleon to bed and thaw him out. The nurse calmly sits unfazed by the commotion, tending to the young King of Rome. She subversively celebrates the Russian victory, calling them "Staunch Patriots." Next to her chair, a child-sized chamberpot/throne serves as a shelf for the young prince's crown. In the left corner of the sheet, a monkey, dressed in a French uniform and sitting on a violin, reads a menu through a monocle, while a small dog offers him a violin bow. This print has been torn at the upper edge and is repaired. This image depicts an elegantly decorated living room. At the left of the sheet, a nurse, seated by the fire, holds the heir to the throne across her knees. Ladies in waiting standing by react to the interruption of their peaceful afternoon. Napoleon, carried high on the shoulders of the Devil, enters from the right. In rushing to greet her "hero," Marie Louise's crown falls backwards off her head into the outstretched hands of her lady in waiting. In this action, Cruikshank indicates that Napoleon's defeat in Russia has put his empire in jeopardy. Battered and paralyzed with frostbite, Napoleon clutches his savior's horns and laments his loss. Comically, the cloven-foot Devil instructs Marie Louise to put Napoleon to bed and thaw him out. The nurse calmly sits unfazed by the commotion, tending to the young King of Rome. She subversively celebrates the Russian victory, calling them "Staunch Patriots." Next to her chair, a child-sized chamberpot/throne serves as a shelf for the young prince's crown. In the left corner of the sheet, a monkey, dressed in a French uniform and sitting on a violin, reads a menu through a monocle, while a small dog offers him a violin bow. This print has been torn at the upper edge and is repaired. Published by Walker and Knight, 1813-01-00. Not listed in George. Caption: Pubd. by Walker & Knight, Sweetings, Alley Royale, Jan 1813 Dialogue: Napoleon II: "Nursey has Papa Cowed the Russians as the English cowed us." Dialogue: Nursemaid: "No your Majesty the Russians fought like Bulls & their Nobility proved Staunch Patriots." Dialogue: Empress: "Come to my arms my Hero, & tell me all the Secrets of your Glorious Campaign." Dialogue: Napoleon: "My Reputation is gone forever. I must plead for Peace. 'Infandum Regina juves renovare dolorem'." Dialogue: Devil: "Take him to Bed my Lady & Thaw him. I am almost pertrified in helping him to escape from his Army. I shall expect him to say his prayers to me every Night!"

On the right side of the image, the Portuguese fleet leaves Lisbon and sets sail for South America. A smaller boat carries sailors off to the waiting ships. At the rear, Sir Sidney Smith (identified by George) speaks through a trumpet and addresses Napoleon. The sailors who row Smith out join in shouting taunts to Napoleon. Enraged by their departure, Napoleon seizes Talleyrand by the wig and plants a swift kick on his backside. In his anger, Napoleon's hat has fallen from his head and he appears disheveled. Propelled by Napoleon's foot, Talleyrand is about to fall into the water of the Tagus. He stumbles forward and loses his footing on his crippled leg--here dramatized by wavy outlines and by a large red platform attached to the sole of his shoe. In the right distance soldiers march on the plains outside of the Lisbon city walls. Also on the right of the image, a rank of the cavalry gallops towards the shore. Some staining from glue is evident on the outside margins of the print. Also, a small piece of paper has been torn from the upper center of the sheet. On the right side of the image, the Portuguese fleet leaves Lisbon and sets sail for South America. A smaller boat carries sailors off to the waiting ships. At the rear, Sir Sidney Smith (identified by George) speaks through a trumpet and addresses Napoleon. The sailors who row Smith out join in shouting taunts to Napoleon. Enraged by their departure, Napoleon seizes Talleyrand by the wig and plants a swift kick on his backside. In his anger, Napoleon's hat has fallen from his head and he appears disheveled. Propelled by Napoleon's foot, Talleyrand is about to fall into the water of the Tagus. He stumbles forward and loses his footing on his crippled leg--here dramatized by wavy outlines and by a large red platform attached to the sole of his shoe. In the right distance soldiers march on the plains outside of the Lisbon city walls. Also on the right of the image, a rank of the cavalry gallops towards the shore. Some staining from glue is evident on the outside margins of the print. Also, a small piece of paper has been torn from the upper center of the sheet. Published by S.W. Fores. George notes that this sheet may have been etched by both Isaac and George Cruikshank, and Broadley records that it was authored by both men. In her catalog entry, Mary George provides historical background for this image: 'Despite Portugal's adhesion to the Continental System ... and dismissal of the British Ambassador ... Napoleon ordered invasion by French and Spanish troops ... the seizure of the fleet, and partition of the country. Under pressure from Sir Sidney Smith, the Regent was induced to leave for the Brazils with the fleet, treasure, archives, and ministers, escorted by Smith's squadron.' (George, viii, 625) 1808-01-01 Caption: Pubd Janry 1, 1808 by S W Fores 50 Piccadilly Dialogue: Sir Sidney Smith (holding trumpet, l.): "Bon Jour Monsieur, if you would like a trip to the Brazils I'll conduct you there with a great deal of Pleasure, perhaps you would like a taste of Madeira by the way." British sailors in barque: "Brazils a hoa." "here Bully rock her'es Some Lisbon Diet Drink for you alias Sidney Broth." Napoleon: "Stop them stop them, Murder, fire Bougre why did you not make more haste, you hopping rascal-!! now all my hopes are blasted my revenge disappointed, and I'll glut it on you, Monster, Vagabond, Villian!!!" French soldier on top of a distant fort: "Oh by Gar dey have spike all the Gun, oh ma foi, ma foi." Printed Signature: Cruikshank sculp. Annotation: 37/2 Collector's Mark: A Stamp(s): S.W.F.

In the center of this image, Napoleon and one of his officers sit in a small sleigh and glide over a winter plain. The two emaciated horses that pull the sleigh are brutally driven by a soldier who stands on the runners and wields a heavy whip. Sitting with his knees drawn up to his body, Napoleon looks at his secretary, who waits with his pen poised over paper. Despite the desolation of his predicament, Napoleon fabricates a story of French victory in Russia. All three figures in this 'escape sleigh' are pitifully supplied for the winter; they are visibly freezing underneath the large drifts of snow that cover the tops of their cocked caps. Yet Napoleon and his two companions are far better off than the soldiers and horses they leave to starve on the barren field. In the front left corner of the sheet, two famished soldiers tear open the carcass of a horse and ravenously feast on the entrails. Immediately to their left, the arms and legs of two fallen soldiers protrude from underneath their graves of freshly fallen snow. Another heap of human and horse bodies is represented in the bottom right corner of the sheet. One soldier leaning against this mound expresses regret and his desire for death. Another figure, also rendered in profile, stands behind him and raises clasped hands in supplication. In the distance, corpses of horses and soldiers dot the field. The remaining living soldiers can be distinguished huddled in masses or scattered over the field, foraging for food. In the far right distance, the Russian cavalry descends from a slope and attacks the remnants of the French army. In the center of this image, Napoleon and one of his officers sit in a small sleigh and glide over a winter plain. The two emaciated horses that pull the sleigh are brutally driven by a soldier who stands on the runners and wields a heavy whip. Sitting with his knees drawn up to his body, Napoleon looks at his secretary, who waits with his pen poised over paper. Despite the desolation of his predicament, Napoleon fabricates a story of French victory in Russia. All three figures in this 'escape sleigh' are pitifully supplied for the winter; they are visibly freezing underneath the large drifts of snow that cover the tops of their cocked caps. Yet Napoleon and his two companions are far better off than the soldiers and horses they leave to starve on the barren field. In the front left corner of the sheet, two famished soldiers tear open the carcass of a horse and ravenously feast on the entrails. Immediately to their left, the arms and legs of two fallen soldiers protrude from underneath their graves of freshly fallen snow. Another heap of human and horse bodies is represented in the bottom right corner of the sheet. One soldier leaning against this mound expresses regret and his desire for death. Another figure, also rendered in profile, stands behind him and raises clasped hands in supplication. In the distance, corpses of horses and soldiers dot the field. The remaining living soldiers can be distinguished huddled in masses or scattered over the field, foraging for food. In the far right distance, the Russian cavalry descends from a slope and attacks the remnants of the French army. Published by Samuel W. Fores. While criticizing Napoleon's Russian campaign, Cruikshank extends some sympathy to the French soldiers abandoned by their leader. 1813-01-01 Caption: Pubd Jany 1st 1813 by S Wm Fores No 50 Piccadilly corner of Sackville St Dialogue: French general: "Will your majesty write the Bulletin?" Dialogue: Napoleon: "No! you write it! tell them we have left the Army all well, quite gay in excellent Quarters, plenty of provisions__that we travelled in great style__received everywhere with congratulations__and that I have almost completed the repose of Europe." Dialogue: Soldier sitting in snow: "Ah Sire! so dat John Bull says! I wish I could have some repose I'm tired of glory."

Napoleon bends under the weight of the large millstone he attempts to carry in his hands. Comically, his small body and sharp profile are contrasted by the enormous stone he bears in front of his body and by his large cocked hat and long sword that drags on the ground. The stone itself is inscribed "Hanover"--a burden that has been transferred from John Bull to Napoleon. John Bull is caricatured as a country bumpkin marked by his frumpy clothing and his lumpen features. In this satire he wears a smock over his clothing along with a shapeless black hat pulled over his scraggily hair. Although Bull appears as a peasant farmer, the words he speaks are frank and common sensical. Napoleon bends under the weight of the large millstone he attempts to carry in his hands. Comically, his small body and sharp profile are contrasted by the enormous stone he bears in front of his body and by his large cocked hat and long sword that drags on the ground. The stone itself is inscribed "Hanover"--a burden that has been transferred from John Bull to Napoleon. John Bull is caricatured as a country bumpkin marked by his frumpy clothing and his lumpen features. In this satire he wears a smock over his clothing along with a shapeless black hat pulled over his scraggily hair. Although Bull appears as a peasant farmer, the words he speaks are frank and common sensical. Although Broadley attributes this satire to Ansell, George indicates that it was made by Williams. 1803-06-05 Caption: Pub July 5th 1803 by S W Fores 50 Piccadilly Dialogue: Napoleon: "Its cursed heavy! I wish it had been Malta!" Dialogue: John Bull: "What thee hast got it hast thee?--the Devil do thee good with it--Old Measter Chatham used to say it was a Millstone about my neck--,so perhaps I may feel more lightsome without it." Inscription: Folios of Caricatures lent out for the Evening.

Heavy drifts of snow cover a broad Russian field. In the foreground of the image, Napoleon (center) gives directions for a bulletin to an officer (center left) and a courier (far left). The courier has just arrived and stands at the left edge of the image. In order to maneuver through the snow, he has tied planks to his feet as makeshift snowshoes. His figure is represented in profile in order to highlight his emaciated body and ragged clothing, his skeletal thighs disappearing into large black jackboots. The courier holds a minuscule looking glass through which he peers down at Napoleon, his jaw dropped open in disbelief. Indicating his function, the courier has been rendered with characteristics of a horse. This is especially notable in his face and in the long pig tail that juts from the back of his head. Napoleon is buried up to his coat collar by the blanketing snow. Drawn in profile, his beaked nose and comically large cocked hat recall a ship's prow plowing through waves. Moreover, the feathers trailing off the peak of the hat suggest banners or flags and serve to identify Napoleon among the soldiers likewise swimming in snow. The upper left corner of the sheet is torn. Heavy drifts of snow cover a broad Russian field. In the foreground of the image, Napoleon (center) gives directions for a bulletin to an officer (center left) and a courier (far left). The courier has just arrived and stands at the left edge of the image. In order to maneuver through the snow, he has tied planks to his feet as makeshift snowshoes. His figure is represented in profile in order to highlight his emaciated body and ragged clothing, his skeletal thighs disappearing into large black jackboots. The courier holds a minuscule looking glass through which he peers down at Napoleon, his jaw dropped open in disbelief. Indicating his function, the courier has been rendered with characteristics of a horse. This is especially notable in his face and in the long pig tail that juts from the back of his head. Napoleon is buried up to his coat collar by the blanketing snow. Drawn in profile, his beaked nose and comically large cocked hat recall a ship's prow plowing through waves. Moreover, the feathers trailing off the peak of the hat suggest banners or flags and serve to identify Napoleon among the soldiers likewise swimming in snow. The upper left corner of the sheet is torn. Published by Walker and Knight. 1812-12-00 Caption: Published Decr 1812 by Walker & Knight Sweetings Alley Royal Exchange Dialogue: Courier: "By Gar he is almost lost!!" French Officer: "Vat de devil shall Ve say in de Bulletin?" Napoleon: "Say!!!! why say we have got into Comfortable Winter Quarters, and the Weather is very fine & will last 8 days longer. Say we have got plenty of Soup Meagre plenty of Minced meat--grilld Bears fine eating--driveing cut-us-off to the Devil. Say we shall be at home at Xmas to dinner--give my love to darling--don't let John Bull know that I have been Cowpoxed--tell a good lie about the Cossacks. D___e it tell anything but the Truth." Annotation: THI.53 Annotation: eo, 10/- Collector's Mark: A

Comfortably seated in the East Indies, John Bull surprises Napoleon who emerges from the globe, one foot on Bengal. Napoleon drops a sheet titled "Plan of Operations in the East Indies," which betrays his interest in conquest. Not to be outdone, Bull carries a sheaf of papers titled "Secret Intelligence" in his back pocket. Because of his excellent intelligence operations, Bull has managed to stay one step ahead of Napoleon. Comfortably seated in the East Indies, John Bull surprises Napoleon who emerges from the globe, one foot on Bengal. Napoleon drops a sheet titled "Plan of Operations in the East Indies," which betrays his interest in conquest. Not to be outdone, Bull carries a sheaf of papers titled "Secret Intelligence" in his back pocket. Because of his excellent intelligence operations, Bull has managed to stay one step ahead of Napoleon. Published by Thomas Tegg, 1808-07-09. This image directly addresses the far-reaching consequences of the Napoleonic Wars. Not only was the map of Europe at stake, but also the state of colonial conquests across the globe depended on the outcome of the battles. George notes that in 1807 Napoleon had formed 'a triple plan for combined land expeditions through Central Asia and Egypt, and a sea expedition round the Cape.' For other images of Napoleon and John Bull battling over the globe, see Broadley E827, 'A Stoppage to a Stride over the Globe,' and Broadley E339, 'Fighting for the Dunghill.' Caption: London Pubd. July 9th 1808 by Thos Tegg III Cheapside Dialogue: Napoleon: "Begar Monsieur Jean Bull again! Vat! you know I was come here!" Dialogue: John Bull: "To be sure I did for your Humbug deceptions I smoked your intentions and have brought my Oak Twig with me, so now you may go back again."

At the right of the image, Marshall Blücher displays little Boney (l.) in a marrow bone. While Napoleon is caricatured, the faces of the allies and Blücher are treated with portrait-like accuracy. Blücher holds the bone upright and prepares to drive Napoleon's legs further into the hollow center. Waving his arms in protest, Napoleon is fixed knee-deep into the bone and has lost the use of his legs. The allies look down on him with amusement and comment to each other that the bone will not be fought for, since it is corrupt at the center. For another image where Napoleon is fixed in a marrow bone, see Broadley E525, "The King's Dwarf Plays Gulliver a Trick." At the right of the image, Marshall Blücher displays little Boney (l.) in a marrow bone. While Napoleon is caricatured, the faces of the allies and Blücher are treated with portrait-like accuracy. Blücher holds the bone upright and prepares to drive Napoleon's legs further into the hollow center. Waving his arms in protest, Napoleon is fixed knee-deep into the bone and has lost the use of his legs. The allies look down on him with amusement and comment to each other that the bone will not be fought for, since it is corrupt at the center. For another image where Napoleon is fixed in a marrow bone, see Broadley E525, "The King's Dwarf Plays Gulliver a Trick." Published by Holland, 1814-05-00. Caption: Pubd. May 1814 by W. Holland No 11 Cockspur St. Dialogue: Blücher: "I'll drive you a little tighter and then I think Europe will be secure from your Machinations!" Dialogue: Ally 1: "Well Marshall this is a Bone there will be no contention about for the contens are too corrupted." Dialogue: Ally 2: "You're fixed at last my boy, you have even lost the use of your legs."

Napoleon, (center), sitting on a high platform, is flanked by two Mamalukes in eastern-style clothing, holding scimitars. He is approached by seven Belgians in supplicating postures, who bow low, hiding their heads under large platters. Using two large pronged forks, Napoleon spears banners of paper carried to him on these platters and proceeds to eat the writings. With his right hand, he stuffs his mouth with a banner inscribed, "Address to the Deified Consul." The fork in Napoleon's left hand spears the next morsel of consumption; a banner labeled, "To the Grand Consular Diety." Napoleon, (center), sitting on a high platform, is flanked by two Mamalukes in eastern-style clothing, holding scimitars. He is approached by seven Belgians in supplicating postures, who bow low, hiding their heads under large platters. Using two large pronged forks, Napoleon spears banners of paper carried to him on these platters and proceeds to eat the writings. With his right hand, he stuffs his mouth with a banner inscribed, "Address to the Deified Consul." The fork in Napoleon's left hand spears the next morsel of consumption; a banner labeled, "To the Grand Consular Diety." Published by Fores, 1803-08-14. The context is explained by George: 'At the end of June, Napoleon, with Josephine and Duroc, started a six weeks' tour of the Channel ports, French, Flemish and Durch; at Amiens the gate to the Calais road was inscribed: The Road to England.' Caption: Pub'd. by S W Fores No 50 Piccadilly London Augt 14 1803 Banner(s): "We Dissolve with Submission," "We Burn with desire to lick the Dust off of your Deified Feet," "Accept the Keys of Heaven and Hell," "The Idol of our Hearts, Livers, Lights, Guts, & Garbage Souls & All," "Your Most Abject Slave Savior of France," "Act of Submission."

In this satire, Napoleon (l.) and Marie Louise (r.) face off over their breakfast table. Napoleon wears a purple dressing robe and a white cap on his head. Marie Louise is also in a state of déshabille. Although she wears a small crown that is tipped back on the top of her head, she is clothed in a revealing diaphanous white gown. The table is elegantly set and the two breakfast on rolls, eggs, tea and coffee. Despite the domestic calm conveyed by the representation of an intimate breakfast, the satirist suggests that Napoleon's home life was significantly less than satisfactory. Marie Louise sits at the right of the table and crosses her arms in dismay. The text indicates that her disappointment arises from Napoleon's production of "Nothing" in the bedroom. From this comical observation the viewer is invited to infer that Napoleon's thirst for power and his assertion of command on the battlefield arises from his sexual inadequacy. In this satire, Napoleon (l.) and Marie Louise (r.) face off over their breakfast table. Napoleon wears a purple dressing robe and a white cap on his head. Marie Louise is also in a state of déshabille. Although she wears a small crown that is tipped back on the top of her head, she is clothed in a revealing diaphanous white gown. The table is elegantly set and the two breakfast on rolls, eggs, tea and coffee. Despite the domestic calm conveyed by the representation of an intimate breakfast, the satirist suggests that Napoleon's home life was significantly less than satisfactory. Marie Louise sits at the right of the table and crosses her arms in dismay. The text indicates that her disappointment arises from Napoleon's production of "Nothing" in the bedroom. From this comical observation the viewer is invited to infer that Napoleon's thirst for power and his assertion of command on the battlefield arises from his sexual inadequacy. Published by Thomas Tegg. 1810-08-16 Caption: Published by T Tegg 111 Cheapside Aug 16 1810 Dialogue: Wife: "Husband, What makes you so sulky this morning, My Dear?" Dialogue: Husband: "Wife, Nothing." Dialogue: Wife: "Husband, What is the matter with you?" Dialogue: Wife: "Husband, you were in a very good Humour last Night, pray what have I done to offend you?" Dialogue: Husband: "Wife, you have done NOTHING that's the reason__"

This is a satire on the disastrous Battle of Eylau, which took place in early February of 1807. On the left of the sheet, a large brown Russian bear cradles Napoleon against his chest and attempts to lull him into submission. A large State Prison populated with Prisoners of War looms behind them. Figures can be seen peering from the windows of this sturdy building. Napoleon, well aware of the impending danger, struggles to get out of the bear's embrace. Hat and sword removed, Napoleon waves his arms over his head and calls out to Talleyrand for help. Keeping his back to his commander, Talleyrand steps out of a narrow stream of water--The Vistula-- hat divides the image. With his right leg still in the water, he uses his deformed, bowed leg to haul himself up onto the right bank. His outfit is ridiculous; on his head he wears a bishop's mitre, a long red gown is hitched up around his waist, and a golden rosary and ink pot are tied to his belt. In addition, he wears a shoe placed on blocks on the foot of his crippled leg. Absorbed by the message he inscribes on the cloud of smoke issuing from his trumpet, Talleyrand silences the pleas of Napoleon on the opposite bank saying, "Leave me alone for a Bulletin." An ominous cloud separates from the cloud on which Talleyrand writes. This dark mass contains the "truth": news of the dramatic losses for the French on the Russian campaign. At the head of the stream, a placard reads, "HIC Jacet--Snug in the Bug--several thousand of the Great Nation." An inscription, THE BUG, floats in the water at the base of the sign post. Immediately behind this, an encampment of white tents dots the landscape. The sheet has some staining at the edges from old glue used to paste the print onto some type of backing. This is a satire on the disastrous Battle of Eylau, which took place in early February of 1807. On the left of the sheet, a large brown Russian bear cradles Napoleon against his chest and attempts to lull him into submission. A large State Prison populated with Prisoners of War looms behind them. Figures can be seen peering from the windows of this sturdy building. Napoleon, well aware of the impending danger, struggles to get out of the bear's embrace. Hat and sword removed, Napoleon waves his arms over his head and calls out to Talleyrand for help. Keeping his back to his commander, Talleyrand steps out of a narrow stream of water--The Vistula-- hat divides the image. With his right leg still in the water, he uses his deformed, bowed leg to haul himself up onto the right bank. His outfit is ridiculous; on his head he wears a bishop's mitre, a long red gown is hitched up around his waist, and a golden rosary and ink pot are tied to his belt. In addition, he wears a shoe placed on blocks on the foot of his crippled leg. Absorbed by the message he inscribes on the cloud of smoke issuing from his trumpet, Talleyrand silences the pleas of Napoleon on the opposite bank saying, "Leave me alone for a Bulletin." An ominous cloud separates from the cloud on which Talleyrand writes. This dark mass contains the "truth": news of the dramatic losses for the French on the Russian campaign. At the head of the stream, a placard reads, "HIC Jacet--Snug in the Bug--several thousand of the Great Nation." An inscription, THE BUG, floats in the water at the base of the sign post. Immediately behind this, an encampment of white tents dots the landscape. The sheet has some staining at the edges from old glue used to paste the print onto some type of backing. Published by Walker. Whereas Broadley attributes this print to Ansell, George attributes it to Williams. 1807-03-00 Dialogue: Russian Bear: "Hush a bye! Hush a bye! take it all quietly, you'll soon find yourself as Snug as a Bug in a Rugg" Dialogue: Napoleon: "Oh D__n the Bug. I wish I had never seen it. My Dear Talley--don't tell my faithfull subjects the true state of my Situation--any thing but the truth my Dear Talley. Oh this cursed Russian Bear how close he hug me." Dialogue: Talleyrand: "Leave me alone for a Bulletin" Inscription: top: "7,000 Prisoners, 3000 drowned, 12 Eagles taken, 12000 Killed" bottom: "FOR PARIS, GRAND BULLETIN, The august Emperor of the great Nation, informs his faithfull and beloved Subjects, that having performed Wonders on the banks of the Bug, he has now closed a glorious campaign for the season, and retired with Ease and Comfort into Winter Quarters." Annotation: 1807 Annotation: 20/2 Collector's Mark: A

11th in suite of 17 unsigned watercolors of uniforms by Lawson, copied from contemporary originals, accompanied by 2 pages of ink manuscript explanation; 2 standing infantrymen, 1 in brown coat, the other in dark blue quilted coat, both with scarlet turbans, holding rifles. 11th in suite of 17 unsigned watercolors of uniforms by Lawson, copied from contemporary originals, accompanied by 2 pages of ink manuscript explanation; 2 standing infantrymen, 1 in brown coat, the other in dark blue quilted coat, both with scarlet turbans, holding rifles. Small, unbound; in red cloth case, green leather labels stamped gold "Indian State Troops. Water-colors by C.C.P. Lawson from original documents".