Etching by V.H.B. after van Meulen; cavalryman shooting another with pistol, smaller figures in combat in background. From a series of four plates representing cavalry engagement. Etching by V.H.B. after van Meulen; cavalryman shooting another with pistol, smaller figures in combat in background. From a series of four plates representing cavalry engagement. Oblong; margins severely trimmed; soiled. N.Y., Rockman Prints, 1964. Title supplied by cataloger

Wash drawing (by Rosa ?); infantrymen and cavalrymen in combat. Wash drawing (by Rosa ?); infantrymen and cavalrymen in combat. Inscribed in lower right in pencil (modern hand?): S. Rosa Title supplied by cataloger. New York, Rockman Prints, 1949.

Original unsigned line drawing in sanguine (attributed to Adam Frans van der Meulen); unfinished perspective view showing cavalrymen and grenadiers advancing from the left towards a fierce cavalry combat in foreground, troops on plain in distance. It has been suggested that this scene may represent Bavarian grenadiers at the Battle of Mohacs, Hungary, in August 1687. Original unsigned line drawing in sanguine (attributed to Adam Frans van der Meulen); unfinished perspective view showing cavalrymen and grenadiers advancing from the left towards a fierce cavalry combat in foreground, troops on plain in distance. It has been suggested that this scene may represent Bavarian grenadiers at the Battle of Mohacs, Hungary, in August 1687. Narrow oblong folio; no margins; creased, faded. N.Y., Tony Prints, 1966. Title supplied by cataloger

In this convoluted satire, a gang of politicians storm a fortress labeled "The Citadel of Office." Each figure in this melee has been identified by Mary George in her description of this print in the British Museum catalog. On the outside of the walls, members of Opposition groups attempt to break through the barrier. The futility of their task is underscored by the uselessness of their weapons and by the fact that the walls have already begun to crumble. With equal comedy, members of the Percival Ministry struggle to defend the walls of their fortress from the invaders. Percival himself fires a cannon loaded with the heads of Wellesley, Ryder, and Melville. Other ministers use their hands to beat back figures who wade out of the "Pool of Corruption," which borders the outer right wall of the Citadel. At the right, several figures set off in a small boat in search of the "Private Door to [the] Treasury." From left to right the figures are identified by George as: Tierney, on a wooden horse; Burdett, flinging mud; Wardel, holding a clothes stool; Lord Temple, the Marquis of Buckingham, and Lord Grenville, carrying a battering ram bearing the head of Ponsonby; Moira, holding a fox with the head of Lord Holland; Sheridan, who has the body of a string of firecrackers, flying over the wall; Lord Lansdowne, seated and squirting a syringe; Romilly, carrying a roll of paper labeled "New Statutes" in his right hand; Sir Vicary Gibbs, who fights Romilly back; Yorke, seated on the wall with his back to the viewer; Whitbread, extending his left hand to receive a seal from Yorke while waving a tankard in his right; Eldon, standing behind the wall and hopelessly wiping tears from his eyes; Woolsack, represented as a sack of wool slumped behind Eldon; Lord Grey and Erskine, tugging at Eldon's wig; Canning, Castlereagh and Sidmouth, who maneuver the boat to the "Private Door to [the] Treasury." Hand colored. The sheet has darkened with age, but the watercolor washes are still bright. In this convoluted satire, a gang of politicians storm a fortress labeled "The Citadel of Office." Each figure in this melee has been identified by Mary George in her description of this print in the British Museum catalog. On the outside of the walls, members of Opposition groups attempt to break through the barrier. The futility of their task is underscored by the uselessness of their weapons and by the fact that the walls have already begun to crumble. With equal comedy, members of the Percival Ministry struggle to defend the walls of their fortress from the invaders. Percival himself fires a cannon loaded with the heads of Wellesley, Ryder, and Melville. Other ministers use their hands to beat back figures who wade out of the "Pool of Corruption," which borders the outer right wall of the Citadel. At the right, several figures set off in a small boat in search of the "Private Door to [the] Treasury." From left to right the figures are identified by George as: Tierney, on a wooden horse; Burdett, flinging mud; Wardel, holding a clothes stool; Lord Temple, the Marquis of Buckingham, and Lord Grenville, carrying a battering ram bearing the head of Ponsonby; Moira, holding a fox with the head of Lord Holland; Sheridan, who has the body of a string of firecrackers, flying over the wall; Lord Lansdowne, seated and squirting a syringe; Romilly, carrying a roll of paper labeled "New Statutes" in his right hand; Sir Vicary Gibbs, who fights Romilly back; Yorke, seated on the wall with his back to the viewer; Whitbread, extending his left hand to receive a seal from Yorke while waving a tankard in his right; Eldon, standing behind the wall and hopelessly wiping tears from his eyes; Woolsack, represented as a sack of wool slumped behind Eldon; Lord Grey and Erskine, tugging at Eldon's wig; Canning, Castlereagh and Sidmouth, who maneuver the boat to the "Private Door to [the] Treasury." Hand colored. The sheet has darkened with age, but the watercolor washes are still bright. Published by M Jones. George attributes the print to De Wilde. In her description of this print, George points to the pitfalls of political satire. She notes that by March 1, the time of publication, this print was out of date. A month earlier, in February, the Prince Regent announced his intentions to maintain the ministry kept by his father, George III. As a result of this decision, the hopes of the Opposition were dashed. However, George does commend the print for its accurate representation of the political hopes and positions of the politicians included in the sheet. 1811-03-01 Caption: Published for the Scourge, March 1st 1811 by M. Jones 5 Newgate St.

Color aquatint by W.T. Fry after Dighton, published Dec. 21st, 1815; fierce combat among hussars, grenadiers, lancers, dragoons etc., additional battle in background. Color aquatint by W.T. Fry after Dighton, published Dec. 21st, 1815; fierce combat among hussars, grenadiers, lancers, dragoons etc., additional battle in background. Large oblong folio, matted; plate mark, margins trimmed; clean. London, Parker Gallery, 1952.

Original watercolor signed by Manskirch; cavalry in sword and lance combat. Original watercolor signed by Manskirch; cavalry in sword and lance combat. Oblong folio, matted; no margins; clean. London, Parker Gallery, 1950. Title supplied by cataloger.

Engraved plate by Freeman after Brooke; panoramic Waterloo battle scene, British Scots Guards attacking French position in center, sun breaking through clouds in upper left background; inscription quoting eyewitness British officer beneath title. Engraved plate by Freeman after Brooke; panoramic Waterloo battle scene, British Scots Guards attacking French position in center, sun breaking through clouds in upper left background; inscription quoting eyewitness British officer beneath title. Oblong folio, matted; margins; clean.

Color aquatint by Stadler after Dighton, published Octr. 21, 1816; combat between groups of mounted and foot soldiers, in foreground, cavalry formations advancing in background. Color aquatint by Stadler after Dighton, published Octr. 21, 1816; combat between groups of mounted and foot soldiers, in foreground, cavalry formations advancing in background. Small oblong folio, matted; margins; creased, margins soiled. London, Parker Gallery, 1955.

Napoleon, seated on horse, looking through telescope, other mounted officers behind, one wounded on ground; officer on foot handing him a document, battle on left distance. Napoleon, seated on horse, looking through telescope, other mounted officers behind, one wounded on ground; officer on foot handing him a document, battle on left distance. Large horizontal folio; margins intact; slightly soiled Napoleon at the Battle of Wagram

12th in collection of 12 (of 13) numbered and unnumbered hand-colored engraving (this one uncolored) by Heath, after Leveque; battle scene in countryside, hills in distance. 12th in collection of 12 (of 13) numbered and unnumbered hand-colored engraving (this one uncolored) by Heath, after Leveque; battle scene in countryside, hills in distance. Oblong folio, 6 prints, matted; most with plate marks and margins intact; some slightly soiled. From 'Campaigns of the British Army in Portugal...' London, Francis Edwards, 1962.

Unfinished, unsigned wash drawing, probably by contemporary Austrian artist; French revolutionary infantry and color guard under close attack by Austrian grenadiers, infantry and grenz troops. Unfinished, unsigned wash drawing, probably by contemporary Austrian artist; French revolutionary infantry and color guard under close attack by Austrian grenadiers, infantry and grenz troops. Oblong folio, matted; margins intact. N.Y., Rockman Prints, 1951. title provided by cataloger

Color lithograph by and after Bass(?); battle scene with landscape background; crude lithograph by first American lithographer. Color lithograph by and after Bass(?); battle scene with landscape background; crude lithograph by first American lithographer. Oblong medium folio, matted folio; margins trimmed close; slightly worn. N.Y., Kennedy, 1952. title provided by cataloger

Color stipple-engraving by Cooper after Craig, published June 1st, 1806; Nelson on deck in midst of close combat, falling back into arms of officer. Color stipple-engraving by Cooper after Craig, published June 1st, 1806; Nelson on deck in midst of close combat, falling back into arms of officer. Large oblong folio, matted; margins trimmed; yellowed, worn, repaired tears. London, auction, 1952.

Original finely executed ink and sepia wash drawing signed by (J.F.J.) Swebach; French hussars charging in from woods at right and routing Austrian infantry who retreat towards left, landscape background. Original finely executed ink and sepia wash drawing signed by (J.F.J.) Swebach; French hussars charging in from woods at right and routing Austrian infantry who retreat towards left, landscape background. Large oblong folio, on blue-green board mount; no margins; clean. N.Y., Rockman, 1965. Title supplied by cataloger.

Chromolithograph advertising card for patent medicine; U.S. soldiers in combat with Native Americans. Advertisement reads: 'After once using our "Tippecanoe" you will use no nostrums nor preparations called "Bitters". Try "Tippecanoe" instead'. Tippecanoe was a remedy prepared by the H.H. Warner Co., Rochester, N.Y. Chromolithograph advertising card for patent medicine; U.S. soldiers in combat with Native Americans. Advertisement reads: 'After once using our "Tippecanoe" you will use no nostrums nor preparations called "Bitters". Try "Tippecanoe" instead'. Tippecanoe was a remedy prepared by the H.H. Warner Co., Rochester, N.Y. Oblong; margins trimmed (?); worn. New York, Rockman Prints, 1960.

composed by Laura Hastings Hatch. Cover title Cover lithographic illustration by J.H. Bufford after J.E. Baker: oval view of the aftermath of a battle in a woodland with debris and casualties; ghostly figures on women in top right. For piano

Color lithograph by and after Clay, printed by J. Dorival; battle scene between American troops and Native Americans, other troops, village etc. into background. 'In the center Col. R. M. Johnson shoots Tecumseh who has raised his tomahawk. A legend at the bottom describes the men pictured and describes of their role in the battle' - Library of Congress. Color lithograph by and after Clay, printed by J. Dorival; battle scene between American troops and Native Americans, other troops, village etc. into background. 'In the center Col. R. M. Johnson shoots Tecumseh who has raised his tomahawk. A legend at the bottom describes the men pictured and describes of their role in the battle' - Library of Congress. Oblong folio, matted large folio; margins trimmed; soiled, stained, torn (repaired). Acquired 1942.

One of a pair of color aquatints by and after Heath, numbered 163, published 14th Septr. 1821; battle scenes, each showing Wellington in left foreground, directing; [See also Battle of Salamanca]. One of a pair of color aquatints by and after Heath, numbered 163, published 14th Septr. 1821; battle scenes, each showing Wellington in left foreground, directing; [See also Battle of Salamanca]. Oblong folio, matted; plate marks; clean. N.Y., Rockman Prints, 1948.

Color aquatint by H. Moses and G. Lewis after Wright; companion to Victory of Victoria, showing battle on plain and capture of baggage and carriage train, town in background. Color aquatint by H. Moses and G. Lewis after Wright; companion to Victory of Victoria, showing battle on plain and capture of baggage and carriage train, town in background. Large oblong folio, matted; margins entirely trimmed away; slightly stained. London, Spencer, '52. Ep.

One of a collection of 6 signed watercolors by Norie of military scenes. One of a collection of 6 signed watercolors by Norie of military scenes. Oblong folio, one of 6 pieces, matted; no margins; clean. Title supplied by cataloger. London, Parker Gallery, 1950.

One of a collection of 6 signed watercolors by Norie of military scenes. One of a collection of 6 signed watercolors by Norie of military scenes. Oblong folio, matted; no margins; clean. Title supplied by cataloger. London, Parker Gallery, 1954.

Color lithograph after Maclure; panoramic battle scene, armies trading artillery fire, in formation on either side of steeply-banked river and barren seacoast, where ships are bombarding shore. Color lithograph after Maclure; panoramic battle scene, armies trading artillery fire, in formation on either side of steeply-banked river and barren seacoast, where ships are bombarding shore. Large oblong folio, matted; margins slightly trimmed; margins slightly soiled.

Distant view of masses of soldiers in combat amidst smoke, on landscape close to the sea. Distant view of masses of soldiers in combat amidst smoke, on landscape close to the sea. Oblong folio; drawn and lithographed on stone by Andrew Maclure.

Color lithograph by Needham after Lieut. [Edgar Grantham?] Bredin, R.A., printed by Day & Son, published Decr. 12th, 1854; panoramic view of battle. Color lithograph by Needham after Lieut. [Edgar Grantham?] Bredin, R.A., printed by Day & Son, published Decr. 12th, 1854; panoramic view of battle. Large oblong folio, matted; margins; clean. London, Parker Gallery 1968.

Coppper-engraving by Jo. Ulrich Kraus after Wdltmann; persepctive of encampment and attacking troop formations; mounted officers conferring in foreground. Coppper-engraving by Jo. Ulrich Kraus after Wdltmann; persepctive of encampment and attacking troop formations; mounted officers conferring in foreground. Upright medium folio, mounted on white paper; plate mark, margins; worn, ink manuscript notes on all margins. N.Y., Rockman Prints, 1957. Title supplied by cataloger

Hand-color engraving plate (from book) by V. Balch after Smith; view of battle in countryside with mounted officers and flag-bearers in foreground. Hand-color engraving plate (from book) by V. Balch after Smith; view of battle in countryside with mounted officers and flag-bearers in foreground. Oblong, matted; margins intact; clean, creased. N.Y., Old Print Shop, 1962.

One of a pair of color aquatints by and after Heath, numbered 162, published 14th Septr. 1821; battle scenes, each showing Wellington in left foreground, directing; Salamanca should be dated 1812 instead of 1813. [See also Battle of the Pyrennees]. One of a pair of color aquatints by and after Heath, numbered 162, published 14th Septr. 1821; battle scenes, each showing Wellington in left foreground, directing; Salamanca should be dated 1812 instead of 1813. [See also Battle of the Pyrennees]. Oblong folio, matted; plate marks; clean. N.Y., Rockman Prints, 1948.

Wood-engraved plate; battle scene near mission church, showing close combat. From Frank Leslie's Illustrated Newspaper, May 7, 1856, page 360. Wood-engraved plate; battle scene near mission church, showing close combat. From Frank Leslie's Illustrated Newspaper, May 7, 1856, page 360. Oblong folio; margins; yellowed. Hanover, NH, Book & Print Shop, 1955.

Color lithograph printed by Sage, Sons & Co., battle in countryside between British and Irish rebel forces. Color lithograph printed by Sage, Sons & Co., battle in countryside between British and Irish rebel forces. Large oblong folio, matted; margins intact; clean. New York, Harry H. Hymes, 1944.

1st in pair of hand-colored stipple-engravings; General Mercer on ground near cannon, receiving mortal wounds from British bayonets. [See also: Victory at Trenton]. 1st in pair of hand-colored stipple-engravings; General Mercer on ground near cannon, receiving mortal wounds from British bayonets. [See also: Victory at Trenton]. Upright; margins intact; soiled. New York, Weyhe, 1943.