One of a pair of original watercolors signed by Norie; mounted native officer directing charge of lancers. One of a pair of original watercolors signed by Norie; mounted native officer directing charge of lancers. Oblong folio, matted; no margins; clean. Title supplied by cataloger. London, Parker Gallery, 1957.

One of a series of 6 (of 20?) color engraved plates copied, with variations, apparently from "Abbildung der russisch Kaiserlichen Hilfstruppen welche im Monathe December 1798 in der Gegend von Brünn gelagert waren", published by Mollo, Vienna; each shows single figure in uniform or military costume, outdoors and has manuscript caption. [See also: a Russian Musketier, a Grenadier, a Calmuck, an officer of Cossacks, a private of Cossacks.] One of a series of 6 (of 20?) color engraved plates copied, with variations, apparently from "Abbildung der russisch Kaiserlichen Hilfstruppen welche im Monathe December 1798 in der Gegend von Brünn gelagert waren", published by Mollo, Vienna; each shows single figure in uniform or military costume, outdoors and has manuscript caption. [See also: a Russian Musketier, a Grenadier, a Calmuck, an officer of Cossacks, a private of Cossacks.] Upright; matted; margins severely trimmed; soiled. London, Spencer, 1953.

One of a series of 6 (of 20?) color engraved plates copied, with variations, apparently from "Abbildung der russisch Kaiserlichen Hilfstruppen welche im Monathe December 1798 in der Gegend von Brünn gelagert waren", published by Mollo, Vienna; each shows single figure in uniform or military costume, outdoors and has manuscript caption. [See also: a Russian Musketier, a Grenadier, a Calmuck, an officer of Grenadiers, a private of Cossacks.] One of a series of 6 (of 20?) color engraved plates copied, with variations, apparently from "Abbildung der russisch Kaiserlichen Hilfstruppen welche im Monathe December 1798 in der Gegend von Brünn gelagert waren", published by Mollo, Vienna; each shows single figure in uniform or military costume, outdoors and has manuscript caption. [See also: a Russian Musketier, a Grenadier, a Calmuck, an officer of Grenadiers, a private of Cossacks.] Upright, matted; margins severely trimmed; soiled. London, Spencer, 1953.

Hand-colored etched caricature of Major Calcraft, 7th Light Dragoons, on horseback, facing left. Hand-colored etched caricature of Major Calcraft, 7th Light Dragoons, on horseback, facing left. Upright, matted; plate mark, margins trimmed close; light soiling. London, Parker Gallery, 1948.

1st in pair of colored mezzotint caricatures after Collett, published 9th Novr. 1778; corpulent dozing officer in phaeton driven by standing woman wearing quasi military jacket on country road, 3 persons peering from back of covered wagon at left. 1st in pair of colored mezzotint caricatures after Collett, published 9th Novr. 1778; corpulent dozing officer in phaeton driven by standing woman wearing quasi military jacket on country road, 3 persons peering from back of covered wagon at left. One of many satires on camp life especially the camps at Cox-Heath and Warley London, Parker Gallery, 1951.

One of a collection of 3 original semi-caricature watercolor drawings. Standing figure looking right holding sword, for the etching published in 1802. One of a collection of 3 original semi-caricature watercolor drawings. Standing figure looking right holding sword, for the etching published in 1802. Small upright folio; margins; yellowed. N.Y., Walter Schatzki, 1963.

Lithograph by and after Hull, printed by C. Hullmandel; 2 uniform figures, outdoors, one mounted, the other mounting. Lithograph by and after Hull, printed by C. Hullmandel; 2 uniform figures, outdoors, one mounted, the other mounting. Oblong folio, matted; margins severely trimmed; soiled.

One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Officer and private advancing, others in background One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Officer and private advancing, others in background Folio, unbound; in red cloth case, red leather label stamped gold "C. H. Smith. Costume of the British Army. Original Drawings"; soiled, worn. Bedford, Peter Young, 1950.

One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Officer in parade dress with sword, mounted soldier in background. One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Officer in parade dress with sword, mounted soldier in background. Folio, unbound; in red cloth case, red leather label stamped gold "C. H. Smith. Costume of the British Army. Original Drawings"; soiled, worn. Bedford, Peter Young, 1950.

Etched caricature by and after Heath, published April 29, 1824; 4 Irish fishwives tossing members of the 10th Hussars in blanket. Etched caricature by and after Heath, published April 29, 1824; 4 Irish fishwives tossing members of the 10th Hussars in blanket. Small oblong folio; plate mark, margins trimmed; light soiling. N.Y., Walter Schatzki, 1964.

George IV (left) holds a sheet inscribed "Treaty of Peace" and looms behind Napoleon (right). Napoleon, his empty scabbard tucked between his legs, vomits into a large tub while the King pats him on the back. Small figures representing European countries tumble out of Napoleon's mouth and, once they have righted themselves, scurry away. On the floor, Napoleon's hat and unsheathed sword lie on top of a map of Elba. George IV (left) holds a sheet inscribed "Treaty of Peace" and looms behind Napoleon (right). Napoleon, his empty scabbard tucked between his legs, vomits into a large tub while the King pats him on the back. Small figures representing European countries tumble out of Napoleon's mouth and, once they have righted themselves, scurry away. On the floor, Napoleon's hat and unsheathed sword lie on top of a map of Elba. Published by William Holland, 1814-06-04. British Museum, BM 12276. Caption: "And all the way most like a brutish Beast,/ He spewed up his Gorge, that all did him detest." "--Spencer" Caption: London Pubd June th 1814 by Wm Holland No 11 Cockspur St Dialogue: George IV: "I think now my little fellow, you are pretty well clear'd out, and I hope you will never give us the trouble to Prescribe or Proscribe any more." Dialogue: Swiss figure in tub: "I say Mynheer! do stop and help a poor Swiss out of the Tub." Dialogue: Dutch figure: "Nay Nay Mynheer now I be out I will run for it."

4th in suite of 12 original unsigned ink and watercolor sketches, by Bradford, of uniform figures and groups; mounted cavalryman in light blue uniform, lifting sabre, on rearing horse, facing right. 4th in suite of 12 original unsigned ink and watercolor sketches, by Bradford, of uniform figures and groups; mounted cavalryman in light blue uniform, lifting sabre, on rearing horse, facing right. Small upright folio, matted; margins; clean; mounted in folio album of red marble boards, 1/4 red morocco back st. gold. London, Parker, 1964.

6th in suite of 12 original unsigned ink and watercolor sketches, by Bradford, of uniform figures and groups; back view of French hussar in blue jacket, red hat, standing beside horse; 2nd sketch of hussar head, wearing hat, at right; with descriptive note. 6th in suite of 12 original unsigned ink and watercolor sketches, by Bradford, of uniform figures and groups; back view of French hussar in blue jacket, red hat, standing beside horse; 2nd sketch of hussar head, wearing hat, at right; with descriptive note. Small upright folio, matted; margins; clean; mounted in folio album of red marble boards, 1/4 red morocco back st. gold. London, Parker, 1964.

Lithograph; 3 humorous illustrations of exposition scenes, naval personages etc. Lithograph; 3 humorous illustrations of exposition scenes, naval personages etc. Oblong medium folio, matted; margins entirely cut away; soiled; creased. New York, Milton L. Bernstein, 1946.

Broadside showing the procession composed of small-scale figures on foot, on horseback and in carriages, the full length is shown on eleven lines including the various aldermen, mounted and foot musicians, soldiery, and a plume-bearer. Smaller scenes below illustrate 'The Uniform Dresses...', 'The Procession on Foot to the Church', and 'The Funeral Motions', engraved text above and below. Woodstock, Schulz-Falster Rare Books, 2015

Hand-colored aquatint, published Jany. 13th, 1806; side view of funeral chariot with catafalque and canopy, banner, representations of prow and stern of ship, etc. Hand-colored aquatint, published Jany. 13th, 1806; side view of funeral chariot with catafalque and canopy, banner, representations of prow and stern of ship, etc. Square; margins trimmed close; soiled, worn, spotted. N.Y., Rockman Prints, 1961.

British Museum Catalogue: 'Thunderbolts strike Napoleon and his army from the left while from the right an eruption from Vesuvius is about to overwhelm them. The thunderbolts slant down from black clouds surrounding an irradiated space and the heads of Liverpool,the Emperor of Austria, the Tsar, Wellington, and Blücher. They issue from cannon, half-concealed in the clouds, and from the mouth of Liverpool, the foremost of the five. The centre of the rays which light up these heads and strike the heavy clouds is a dove with an olive-branch. Napoleon tumbles backwards from his horse...The cone of Vesuvius, rounded by smoke, sends up a cascade of missiles: among them are King Joachim of Naples (Murat) and his wife Caroline Bonaparte, who fall head first towards Napoleon, followed by rats. In another cascade of stones is a crown labelled 'To the right owner,' and a sceptre; these are about to fall into the arms of Ferdinand IV of Sicily, who stands below, reaching up for them. On the slope of Vesuvius are spires and buildings,inscribed Naples, while lower down is the bay, crowded with men-of-war, a Union flag flying above the French tricolour. As a pendant to Vesuvius and on the extreme left is 'The Good City of Paris,' bordered by tiny windmills. It is on fire, owing to thunderbolts falling perpendicularly from the clouds surrounding the allies.' British Museum Catalogue: 'Thunderbolts strike Napoleon and his army from the left while from the right an eruption from Vesuvius is about to overwhelm them. The thunderbolts slant down from black clouds surrounding an irradiated space and the heads of Liverpool,the Emperor of Austria, the Tsar, Wellington, and Blücher. They issue from cannon, half-concealed in the clouds, and from the mouth of Liverpool, the foremost of the five. The centre of the rays which light up these heads and strike the heavy clouds is a dove with an olive-branch. Napoleon tumbles backwards from his horse...The cone of Vesuvius, rounded by smoke, sends up a cascade of missiles: among them are King Joachim of Naples (Murat) and his wife Caroline Bonaparte, who fall head first towards Napoleon, followed by rats. In another cascade of stones is a crown labelled 'To the right owner,' and a sceptre; these are about to fall into the arms of Ferdinand IV of Sicily, who stands below, reaching up for them. On the slope of Vesuvius are spires and buildings,inscribed Naples, while lower down is the bay, crowded with men-of-war, a Union flag flying above the French tricolour. As a pendant to Vesuvius and on the extreme left is 'The Good City of Paris,' bordered by tiny windmills. It is on fire, owing to thunderbolts falling perpendicularly from the clouds surrounding the allies.' British Museum Catalogue: There are two earlier states: one with the word 'Approaching' used in place of 'Waterloo' and one with the word erased and left blank. Caption: Dark low'rs the Sky; the clouded air Portends the dire, approaching shock; Rapine exults, & grim Despair Laughs wildly from his barren rock: But soon shall Peace, from darkness breaking Smile brightly o'er our glorious Isle; And soon indignant Thunder waking From France shall tear a yoke so vile! Caption: Etchd by G. Cruikshank Caption: Pubd by H. Humphrey 27 St James's St June 17, 1815

Color lithograph by A. Laby after de Prades, published Jany. 23rd, 1855; group of Scots Guards in combat with Russian Infantry. Color lithograph by A. Laby after de Prades, published Jany. 23rd, 1855; group of Scots Guards in combat with Russian Infantry. Large oblong folio, matted; margins; slightly soiled, repaired tear. London, Parker Gallery, 1949.

One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Ensign with flag and soldier with spontoon advancing, others in distance One of 34 aquatint proofs (?) partially tinted and captioned in ink (by Smith?). Ensign with flag and soldier with spontoon advancing, others in distance Folio, unbound; in red cloth case, red leather label stamped gold "C. H. Smith. Costume of the British Army. Original Drawings"; soiled, worn, plate mark. Bedford, Peter Young, 1950.

Original unsigned watercolor; British officer seated in tent, smoking hookah, with servant standing behind and another seated on floor pulling on rope to operate fan, sepoy saluting at doorway. Original unsigned watercolor; British officer seated in tent, smoking hookah, with servant standing behind and another seated on floor pulling on rope to operate fan, sepoy saluting at doorway. Stow-on-the-Wold, Christopher Clarke Antiques, 2005

1st in collection of 3 numbered colored lithographic plates of battle and combat scenes; in foreground, British soldier carrying standard and pistol falls wounded, with massed battling troops and dead soldiers in background, plateau and mountain landscape. 1st in collection of 3 numbered colored lithographic plates of battle and combat scenes; in foreground, British soldier carrying standard and pistol falls wounded, with massed battling troops and dead soldiers in background, plateau and mountain landscape. Oblong medium folio, matted; margins intact; edges soiled. From 'Lloyd's Incidents in the War in the Crimea', No. 1. New York, Harry H. Hymes, 1943. Title supplied by cataloger

Left plate: armed soldier with rifle over left solder; right plate; Scottish piper Left plate: armed soldier with rifle over left solder; right plate; Scottish piper Oblong folio, slightly soiled and worn "Engraved for Spencer's New History of England

Hand-colored engraved caricature, published May 11, 1791; royalties etc., including one in uniform, astride bull stumbling at right, piper, official and protesting taxpayer at left. Personalities include Catherine II, Empress of Russia, Frederick William II, King of Prussia, George III of England, Leopold II, Holy Roman Emperor, and William Pitt the Younger. Hand-colored engraved caricature, published May 11, 1791; royalties etc., including one in uniform, astride bull stumbling at right, piper, official and protesting taxpayer at left. Personalities include Catherine II, Empress of Russia, Frederick William II, King of Prussia, George III of England, Leopold II, Holy Roman Emperor, and William Pitt the Younger. Oblong folio; margins trimmed; repaired corner tear; creased and stained. N.Y., Walter Schatzki, 1971.

A stocky bulldog pins a smaller, leaner dog to the ground, sinking its teeth into the ribs of the "Corsican Bloodhound." The bulldog wears a collar fastened with a padlock imprinted "John Bull." The bloodhound struggles in vain to escape and lies prone on the floor. Although the bloodhound bears the clear and unmistakable profile of Napoleon Bonaparte, the bulldog's head has features that are only vaguely anthropomorphized. Dated to the summer of 1803, this sheet is one of many images that deals with the invasion scare of that year. Here, the bulldog ably dispatches his rival in a composition that carries clear echoes of animal paintings made by George Stubbs. Stubbs' paintings frequently featured animals attacking their counterparts, for example, one notable theme is that of lions preying on horses. A stocky bulldog pins a smaller, leaner dog to the ground, sinking its teeth into the ribs of the "Corsican Bloodhound." The bulldog wears a collar fastened with a padlock imprinted "John Bull." The bloodhound struggles in vain to escape and lies prone on the floor. Although the bloodhound bears the clear and unmistakable profile of Napoleon Bonaparte, the bulldog's head has features that are only vaguely anthropomorphized. Dated to the summer of 1803, this sheet is one of many images that deals with the invasion scare of that year. Here, the bulldog ably dispatches his rival in a composition that carries clear echoes of animal paintings made by George Stubbs. Stubbs' paintings frequently featured animals attacking their counterparts, for example, one notable theme is that of lions preying on horses. Published by Roberts, 1803-08-00. British Museum, BM 10080. Originally published by Roberts in August 1803, the sheet in the Hay's collection was published by Thomas Tegg at a later date. This is evidenced by the clumsy attempt to scratch out Robert's name and the date on the original plate (bottom left and right). Caption: London Pubd. by T. Tegg Cheapsid [sic] Jany

Hand-colored engraving by Peter Mazell after Archibald Campbell; view towards bastions at end of cliff, soldiers etc. relaxing in foreground, ships and sunset rays in background. Hand-colored engraving by Peter Mazell after Archibald Campbell; view towards bastions at end of cliff, soldiers etc. relaxing in foreground, ships and sunset rays in background. Oblong folio; plate mark, martins intact. N.Y., Old Print Shop, 1972.

Hand-colored copper engraving (after Stanka); parade of artillery, with gun carriages, through city square, background of buildings enclosing square. Depicts the parade of the Vienna Civic Artillery Corps on October 12, 1789, in commemoration of the capture of Belgrade by the Austrian army under Field-Marshal Loudon 4 days earlier on October 8, 1789. In the background is the Vienna civic Zeughaus. Hand-colored copper engraving (after Stanka); parade of artillery, with gun carriages, through city square, background of buildings enclosing square. Depicts the parade of the Vienna Civic Artillery Corps on October 12, 1789, in commemoration of the capture of Belgrade by the Austrian army under Field-Marshal Loudon 4 days earlier on October 8, 1789. In the background is the Vienna civic Zeughaus. Oblong folio, matted large folio; plate mark, margins trimmed. Leichtenstein-Hauslab Collection, 1951.

Halftone plate after Remington with 8 illustrations of military types, athletic contests. Halftone plate after Remington with 8 illustrations of military types, athletic contests. From Harper's Weekly, September, 1892, page 872.

Hand-colored stipple engraving by J. Pass after Godefrey; standing uniform figure, outdoors, 2 smaller soldier figures lying on mound in right background near hut. Hand-colored stipple engraving by J. Pass after Godefrey; standing uniform figure, outdoors, 2 smaller soldier figures lying on mound in right background near hut. Upright, mounted in blue cloth loose-leaf album, no title; margins trimmed; stained and yellowed. New York, Harry H. Hymes, 1947.

1st in album containing 39 crude watercolors of Austrian, British, French, Dutch, Swiss, Hesse-Cassel, Hess-Darmstadt, Hanoverian and Prussian uniforms, 1 miniature gouache port., 3 ink or pencil sketches; standing figure of sharpshooter in dark blue uniform and cap, with shouldered rifle. 1st in album containing 39 crude watercolors of Austrian, British, French, Dutch, Swiss, Hesse-Cassel, Hess-Darmstadt, Hanoverian and Prussian uniforms, 1 miniature gouache port., 3 ink or pencil sketches; standing figure of sharpshooter in dark blue uniform and cap, with shouldered rifle. Full calf tooled gold, brown leather back, no title; worn. N.Y., Walter Schatzki, 1959.

Hand-colored etched caricature, published Jany. 1, 1794; 'Caricature of an officer with a large head and small legs standing full-face, his hands behind his back. He wears a cocked hat, has a large moustache, large eyes, a broad and seemingly false nose, and a fixed wooden stare' -- British Museum. Hand-colored etched caricature, published Jany. 1, 1794; 'Caricature of an officer with a large head and small legs standing full-face, his hands behind his back. He wears a cocked hat, has a large moustache, large eyes, a broad and seemingly false nose, and a fixed wooden stare' -- British Museum. Small upright folio, matted; plate mark, margins trimmed; clean. Vienna, Christian Nebehay, 1956.