Hand-colored etched caricature, published May 12th, 1824; 'Battier (left) and Lord Londonderry (right), both in civilian dress, face each other, each behind a low crenellated breastwork, one inscribed Half Pay Battiry [altered to] Battery, the other Full Pay Battery. From each 'Battery' flies a flag: Vox Populi Vox Dei from that of Battier, from Londonderry's Down Down Down Derry Down. Each has a second at his elbow, and each fires a blunderbuss. That of Battier merely smokes from the trigger; his second exclaims: A Flash in the pan by all thats damnable! Londonderry aims low and shoots John Bull's dog; it rolls over barking Bow Wow. Londonderry's second exclaims: A Miss by all thats horrible. John Bull stands between the combatants, behind the line of fire, with legs apart and arms akimbo; he looks at Londonderry with a sly grin, saying, I suppose the Tenth is come to Battersea to be cut for the Simples; I would advise ye to try again Gentlemen, I shall look on and see fair play, ha! ha! ha! In the background is a small house placarded Probe Surgeon cutts for the Simples; a tiny figure runs from the gate, saying, ah! they want me I see! On each gatepost is a pestle and mortar. A signpost points To Battersea'. -- British Museum. Hand-colored etched caricature, published May 12th, 1824; 'Battier (left) and Lord Londonderry (right), both in civilian dress, face each other, each behind a low crenellated breastwork, one inscribed Half Pay Battiry [altered to] Battery, the other Full Pay Battery. From each 'Battery' flies a flag: Vox Populi Vox Dei from that of Battier, from Londonderry's Down Down Down Derry Down. Each has a second at his elbow, and each fires a blunderbuss. That of Battier merely smokes from the trigger; his second exclaims: A Flash in the pan by all thats damnable! Londonderry aims low and shoots John Bull's dog; it rolls over barking Bow Wow. Londonderry's second exclaims: A Miss by all thats horrible. John Bull stands between the combatants, behind the line of fire, with legs apart and arms akimbo; he looks at Londonderry with a sly grin, saying, I suppose the Tenth is come to Battersea to be cut for the Simples; I would advise ye to try again Gentlemen, I shall look on and see fair play, ha! ha! ha! In the background is a small house placarded Probe Surgeon cutts for the Simples; a tiny figure runs from the gate, saying, ah! they want me I see! On each gatepost is a pestle and mortar. A signpost points To Battersea'. -- British Museum. Oblong folio, matted; plate mark; margins trimmed close; bend in lower left corner, slightly soiled. London, Parker Gallery, 1965.

Hand colored etched caricature; woman of fashion ensnaring hussar officer with her shawl. [See also: Interior of a dancing school, on the borders of Connaught; and The Battier Rabbit sent to Coventry]. Hand colored etched caricature; woman of fashion ensnaring hussar officer with her shawl. [See also: Interior of a dancing school, on the borders of Connaught; and The Battier Rabbit sent to Coventry]. Upright, mounted on board, matted; margins trimmed; worn. London, Parker Gallery, 1968.

Engraving. 'An adaptation, in reverse, of 'The Oracle' by John Dixon. Time, with a magic-lantern, throws upon a curtain an allegorical representation of revolution in America. He points this out to four female figures personifying the four quarters of the world. Dixon's Britannia, Hibernia, and Scotia have been transformed into Europe, Asia, and Africa. Europe and Asia sit side by side, Asia's arm on Europe's shoulder. Asia, a fair woman, holds on her lap a censer, from which pour clouds of incense. Europe wears a plumed helmet, and has a spear and a shield on which is a horse; both wear pseudo-classical draperies. Africa, a black woman wearing a turban, stands behind Europe gazing in horror at the vision. This group is on the right. On the left sits America exactly as in Dixon's mezzotint. On the bale of goods behind her are the letters "C. G.", and beneath them "4 F."; on the bale on which she sits is an inverted "M". The letters C. G. are the initials of the artist. Time also is copied from Dixon; his magic lantern throws a circle of light on a heavy curtain. In the centre of the vision is a tea-pot (resembling a coffee-pot) placed over a fire in which stamped documents are blazing. A cock, the emblem of France, is blowing at the fire with bellows. Impressions with the cock are rare, as the engraver was compelled to remove this emblem. The contents of the tea-pot are exploding, and a serpent and the cap of liberty on its staff are being shot from it into the air, surrounded by rays of light and clouds of smoke. This represents the consequences of the Stamp Act and the tax on tea. Beneath the clouds of smoke under the fire a prostrate lion is partly visible, and below, a flag with three leopards, representing the British royal standard, torn, its staff broken. By it lies part of a map, showing the English Channel, inscribed "Detroits . . ." and the head of a spiked club. On the left three beasts of prey are fighting. They appear to be a lion, a bear, and a puma or lioness. Within the circle on the right. American soldiers are advancing with a striped flag on which is a serpent. Before them advances an allegorical figure of America resembling the woman watching the vision; her upstretched hand appears about to grasp the cap and staff of liberty which is shooting up from the exploding tea-pot. Behind her is a mounted officer with a drawn sword followed by soldiers with fixed bayonets. The muzzles of two cannon are also visible, with a man holding a cannon ball. On the left, British soldiers are fleeing in disorder, the heads of the rearmost men being under a yoke. A storm with darts of lightning rages over their heads. The heavily festooned curtain shows pillars, and on the wall (right) is a picture or tapestry of two nude men fighting, one lies prostrate. In the centre of the lower margin are two medallions: one (left) is inscribed "Auto da fe" and "Holland. 1560"; it represents a man tied to the stake, while a monk, holding up a crucifix, holds a torch to the pile. On the right. is "Wilhelm Tell, Switzerland. 1296". Tell aims with a cross-bow at the apple on his son's head, while Gessler on horseback points at the child. Between the medallions is part of an oak-tree. The medallion representing Holland is supported (left) by the Dutch lion holding in his paw a sheaf of seven arrows representing the United Provinces. Hercules with his club (right) supports the medallion of Switzerland. 1778' -- British Museum Engraving. 'An adaptation, in reverse, of 'The Oracle' by John Dixon. Time, with a magic-lantern, throws upon a curtain an allegorical representation of revolution in America. He points this out to four female figures personifying the four quarters of the world. Dixon's Britannia, Hibernia, and Scotia have been transformed into Europe, Asia, and Africa. Europe and Asia sit side by side, Asia's arm on Europe's shoulder. Asia, a fair woman, holds on her lap a censer, from which pour clouds of incense. Europe wears a plumed helmet, and has a spear and a shield on which is a horse; both wear pseudo-classical draperies. Africa, a black woman wearing a turban, stands behind Europe gazing in horror at the vision. This group is on the right. On the left sits America exactly as in Dixon's mezzotint. On the bale of goods behind her are the letters "C. G.", and beneath them "4 F."; on the bale on which she sits is an inverted "M". The letters C. G. are the initials of the artist. Time also is copied from Dixon; his magic lantern throws a circle of light on a heavy curtain. In the centre of the vision is a tea-pot (resembling a coffee-pot) placed over a fire in which stamped documents are blazing. A cock, the emblem of France, is blowing at the fire with bellows. Impressions with the cock are rare, as the engraver was compelled to remove this emblem. The contents of the tea-pot are exploding, and a serpent and the cap of liberty on its staff are being shot from it into the air, surrounded by rays of light and clouds of smoke. This represents the consequences of the Stamp Act and the tax on tea. Beneath the clouds of smoke under the fire a prostrate lion is partly visible, and below, a flag with three leopards, representing the British royal standard, torn, its staff broken. By it lies part of a map, showing the English Channel, inscribed "Detroits . . ." and the head of a spiked club. On the left three beasts of prey are fighting. They appear to be a lion, a bear, and a puma or lioness. Within the circle on the right. American soldiers are advancing with a striped flag on which is a serpent. Before them advances an allegorical figure of America resembling the woman watching the vision; her upstretched hand appears about to grasp the cap and staff of liberty which is shooting up from the exploding tea-pot. Behind her is a mounted officer with a drawn sword followed by soldiers with fixed bayonets. The muzzles of two cannon are also visible, with a man holding a cannon ball. On the left, British soldiers are fleeing in disorder, the heads of the rearmost men being under a yoke. A storm with darts of lightning rages over their heads. The heavily festooned curtain shows pillars, and on the wall (right) is a picture or tapestry of two nude men fighting, one lies prostrate. In the centre of the lower margin are two medallions: one (left) is inscribed "Auto da fe" and "Holland. 1560"; it represents a man tied to the stake, while a monk, holding up a crucifix, holds a torch to the pile. On the right. is "Wilhelm Tell, Switzerland. 1296". Tell aims with a cross-bow at the apple on his son's head, while Gessler on horseback points at the child. Between the medallions is part of an oak-tree. The medallion representing Holland is supported (left) by the Dutch lion holding in his paw a sheaf of seven arrows representing the United Provinces. Hercules with his club (right) supports the medallion of Switzerland. 1778' -- British Museum Oblong folio, mounted on large folio white paper; margins severely trimmed. Vienna, Christian Nebehay, 1962.

Original oil painting signed by Steele; 2 British prisoners burying a third, while another soldier reads from booklet (prayer book?) as Japanese guard looks on; jungle background. Original oil painting signed by Steele; 2 British prisoners burying a third, while another soldier reads from booklet (prayer book?) as Japanese guard looks on; jungle background. Steele enlisted in the Army Air Corps in 1940. He was presented at the bombing of Clark Field, Philippines in September 1941. Evacuated and assigned to front lines on Bataan, he was captured in April 1942 and was in the Bataan Death March. After internment in various POW camps, he was shipped to Japan where he worked in a coal mine until liberation in September 1945. This is one of two paintings in the collection. In wooden frame. Gift of the artist.

Original watercolor signed by Wymer; standing figure in military costume and helmet, carrying musket. Original watercolor signed by Wymer; standing figure in military costume and helmet, carrying musket. Small upright folio, matted; margins intact; some creases and surface dirt. Title supplied by cataloger. London, Parker Gallery, 1968.

Hand-colored etching (crude), published March 11, 1811; British soldiers and sailors landing and capturing harbor fortress, with ships on left, landscape background. Hand-colored etching (crude), published March 11, 1811; British soldiers and sailors landing and capturing harbor fortress, with ships on left, landscape background. Oblong, matted; margins trimmed; clean. N.Y., Rockman Prints, 1954.

Aquatint by J. Wells 'Drawn on the Spot by an eminent Artist' (Charles Benazech), published Nov, 20, 1789. 'A riotous scene outside the Bastille prison; men armed with bayonets and rifles storm the door, where a few guards attempt to ward them off. On the right, two men lie on the ground, and others collect strewn books, one lettered "Memoirs de la Bastille"; in the foreground, Governor Delauney is seized by two men wielding a sword and rifle' -- British Museum Aquatint by J. Wells 'Drawn on the Spot by an eminent Artist' (Charles Benazech), published Nov, 20, 1789. 'A riotous scene outside the Bastille prison; men armed with bayonets and rifles storm the door, where a few guards attempt to ward them off. On the right, two men lie on the ground, and others collect strewn books, one lettered "Memoirs de la Bastille"; in the foreground, Governor Delauney is seized by two men wielding a sword and rifle' -- British Museum Oblong folio, matted; margins trimmed close; creased, soiled. New York, Rockman Prints, 1953.

Hand-colored engraving from book by Du Bosc after Benoist, in ornamental border; panoramic view of battle, showing officers on heights in foreground, troops on field and fording river in background. [See also: The Siege of Huy, August the 16, 1703, The Siege of Lisle. in 1708, and The Siege of Mons. September ye 20, 1709.] Hand-colored engraving from book by Du Bosc after Benoist, in ornamental border; panoramic view of battle, showing officers on heights in foreground, troops on field and fording river in background. [See also: The Siege of Huy, August the 16, 1703, The Siege of Lisle. in 1708, and The Siege of Mons. September ye 20, 1709.] From 'The Military History of the Late Prince Eugene of Savoy, and of the Late John Duke of Marlborough'. London, Parker Gallery, 1951.

Hand-colored mezzotint, Plate 2nd, published July 4th 1812; André, with coat over uniform, accosted by 3 militiamen or volunteer soldiers, horse in right background, fence and farmhouse in left. Hand-colored mezzotint, Plate 2nd, published July 4th 1812; André, with coat over uniform, accosted by 3 militiamen or volunteer soldiers, horse in right background, fence and farmhouse in left. Upright medium folio; margins severely trimmed; yellowed, water-stained. New York, Old Print Shop, 1970.

Unsigned original watercolor (by Gaspard Gobaut?); French and native forces advancing across cliffs and through break in wall of fortified city in background. Unsigned original watercolor (by Gaspard Gobaut?); French and native forces advancing across cliffs and through break in wall of fortified city in background. Oblong folio, matted; no margins; clean. Title supplied by cataloger. London, Parker Gallery, 1966.

French soldier standing on wall waving flag of truce, zouave blowing trumpet to his left; T.W. Lee Lith. French soldier standing on wall waving flag of truce, zouave blowing trumpet to his left; T.W. Lee Lith. Title continues: By T. Browne, Composer of the "Uhlan Galop," "Four in Hand Galop," &c. &c. Solo Pr. 3/-, Duet Pr. 3/-

Dressed in a spotless uniform decorated with gold buttons and braid, the Austrian general, Mack, prostrates himself, surrendering his sword and the keys to Ulm to Bonaparte. Mack is joined by five other officers who mimic him both in clothing and gesture and create a sequence of motions ranging from standing to bowing. Napoleon grandly receives the surrender from his perch on a drum which doubles as a chair. He is depicted in diminutive proportions and wears the First Consul's uniform. In his right hand Napoleon points a small sword in the direction of Mack while his left hand extends towards several grenadiers who carry bags bulging with money. Behind Napoleon, in the right background, ranks of French soldiers stand at attention. Their even rows bristle with the points of bayonets interspersed with tricolor flags. On the left side of the image, behind Mack and his officers, the walls of a massive fortress dominate the horizon. Presumably representing the city of Ulm, the stone face of the city is studded with cannons that appear along the top of the towers. Thus, the virtues of bloodless victory extolled by Mack and Bonaparte is satirized here as the eagerness of the Austrian general to acquiesce and accept a bribe from Napoleon. Clearly, this event is depicted as an act of cowardice on the part of both Napoleon and Mack who would rather settle the battle through bribery than through an honorable fight. George notes that British newspapers covered this surrender with incredulity, while the French soldiers celebrated Napoleon's "new way of making war: he no longer makes it with our arms but with our legs." (George, viii, 368) The color of the sheet has remained strong, yet the corners of the sheet are stained due to the glue applied to the verso. Dressed in a spotless uniform decorated with gold buttons and braid, the Austrian general, Mack, prostrates himself, surrendering his sword and the keys to Ulm to Bonaparte. Mack is joined by five other officers who mimic him both in clothing and gesture and create a sequence of motions ranging from standing to bowing. Napoleon grandly receives the surrender from his perch on a drum which doubles as a chair. He is depicted in diminutive proportions and wears the First Consul's uniform. In his right hand Napoleon points a small sword in the direction of Mack while his left hand extends towards several grenadiers who carry bags bulging with money. Behind Napoleon, in the right background, ranks of French soldiers stand at attention. Their even rows bristle with the points of bayonets interspersed with tricolor flags. On the left side of the image, behind Mack and his officers, the walls of a massive fortress dominate the horizon. Presumably representing the city of Ulm, the stone face of the city is studded with cannons that appear along the top of the towers. Thus, the virtues of bloodless victory extolled by Mack and Bonaparte is satirized here as the eagerness of the Austrian general to acquiesce and accept a bribe from Napoleon. Clearly, this event is depicted as an act of cowardice on the part of both Napoleon and Mack who would rather settle the battle through bribery than through an honorable fight. George notes that British newspapers covered this surrender with incredulity, while the French soldiers celebrated Napoleon's "new way of making war: he no longer makes it with our arms but with our legs." (George, viii, 368) The color of the sheet has remained strong, yet the corners of the sheet are stained due to the glue applied to the verso. Published by Hannah Humphrey. 1805-11-06 Caption: Published Novr 6th 1805. by H. Humphrey 27 St. James Str Dialogue: Napoleon, (right): "There's your Price! There's Ten Millions! Twenty!! it is not in my army alone that my rescources of Conquering consists!! I hate Victory obtain'd by effusion of Blood!" General Mack, (center): "--and so do I too! what signifies Fighting when we can settle it in a Safer way!!!" Scroll on the ground beside Mack: "Articles to be deliver'd up-- 1- Field Marshall, 8-Generals in Chief, 7-Leutn Generals, 36 Thousand Soldiers, 80 Pieces of Cannon, 50 Stand of Colour, 10000 Pounds of Powder, 4000 Cannon Ball[s]" Sacks held by French soldiers, (r.): "20 Million Livres," "10 Million Livres," "Million Livres". Standards held by French: "Vive L'Empereur Napoleon," "Vive Buonaparte," "La Victiore ou La Mort." Printed Signature: James Gillray inv. & f. Collector's Mark: A Miscellaneous: 17/2 (?)

Hand-colored engraved plate by Cardon, after Singleton, published Octr. 15th, 1802; Indian princes and staff surrendering to British officers near walls of fortress, troops gathered on either side and along top of walls in left background. Hand-colored engraved plate by Cardon, after Singleton, published Octr. 15th, 1802; Indian princes and staff surrendering to British officers near walls of fortress, troops gathered on either side and along top of walls in left background. Large oblong folio, matted; plate mark, margins trimmed.

Hand-colored engraved (somewhat crude), published Octr. 11, 1793; sailors rowing soldiers inshore from warships to occupy fort and town in background. Hand-colored engraved (somewhat crude), published Octr. 11, 1793; sailors rowing soldiers inshore from warships to occupy fort and town in background. Oblong folio, mounted on cardboard, margins trimmed; slightly soiled. N.Y., Rockman Prints, 1964.

Hand-colored engraved caricature [published by J. Barrow, May ye 10th, 1782]; procession of political and military figures passing by castle tower from which George III addresses a remark. Print represents the fall of the North Ministry and establishment of the Rockingham Ministry. Images include: members of the North and Rockingham Ministry trading places; Devil; George III, King of Great Britain. Hand-colored engraved caricature [published by J. Barrow, May ye 10th, 1782]; procession of political and military figures passing by castle tower from which George III addresses a remark. Print represents the fall of the North Ministry and establishment of the Rockingham Ministry. Images include: members of the North and Rockingham Ministry trading places; Devil; George III, King of Great Britain. Oblong medium folio; margins severely trimmed; slightly yellowed. N.Y., Walter Schatzki, 1958.

Color lithograph by Currier & Ives; two generals in foreground, subordinate figures in middle ground, encampment in background. Color lithograph by Currier & Ives; two generals in foreground, subordinate figures in middle ground, encampment in background. Small oblong folio, matted; margins trimmed; yellowed, worn, stained. New York, Old Print Shop, 1951.

Lithograph; surrender scene beneath tree, showing Grant, Lee and staffs, troops in background. Lithograph; surrender scene beneath tree, showing Grant, Lee and staffs, troops in background. Large oblong folio, matted; margins trimmed; yellowed. New York, Rockman Prints, 1948.

Copper-engraved plate after Hamilton, with ornamental border (part of set); Cornwallis on right, flanked by officers, surrendering to Washington and Rochambeau on left. Copper-engraved plate after Hamilton, with ornamental border (part of set); Cornwallis on right, flanked by officers, surrendering to Washington and Rochambeau on left. From Barnard's New Complete & Authentic History of England

Hand-colored crude woodcut engraved broadside; 2 large figures of La Fond handing over sword at left and Wellington with surrender terms at right, 2 groups of soldiers in center, clump of trees and 2 mounted figures at top. Hand-colored crude woodcut engraved broadside; 2 large figures of La Fond handing over sword at left and Wellington with surrender terms at right, 2 groups of soldiers in center, clump of trees and 2 mounted figures at top. Large oblong folio, matted; margins intact; edges worn. London, Parker Gallery, 1965.

Copper engraving by John Boydell and F. Alliamet after Pine, published 1771; Edward about to pardon burghers of Calais who surrendered keys, Queen on knees weeping and imploring at right, women and soldiers in background. Copper engraving by John Boydell and F. Alliamet after Pine, published 1771; Edward about to pardon burghers of Calais who surrendered keys, Queen on knees weeping and imploring at right, women and soldiers in background. Large oblong folio, mounted on white board; plate mark, margins trimmed; clean. Vienna, Christian Nebehay, 1962.

Wash and watercolor drawing signed and dated by Simpson, 17th April, 1879; mounted troops approaching and crossing bridge. 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, July 19, 1879. Wash and watercolor drawing signed and dated by Simpson, 17th April, 1879; mounted troops approaching and crossing bridge. 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, July 19, 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/)

written and composed by Julia L. Spalding. For voice and piano. Halftone cover design after F. Henry with central illustration of General Gordon, mounted, and 6 surrounding oval bust portraits of Confederate generals. 'Dedicated to the Confederate veterans'--page [3]

composed by Charles d''Albert. For piano. Cover title. Color lithographic cover: sultan riding towards left, small figures in background. F.A.N. 2190 4. "Twelve New and beautiful pieces just published by F.A. North & Co."--advertisment page [60]

composed by Charles d'Albert. For piano. Cover title. "Montreal, Henry Prince ; St. Louis, H. Pilcher & Son." Cover illustration: Color lithograph of a sultan on horseback with mounted troops in the background / "Lith. of Sarony Major & Knapp, 449 Broadway, N.Y." "Quidor Engvr."--Colophon.

composed by Charles d''Albert. For piano. Cover title. Color lithographic cover: sultan riding towards left, small figures in background. F.A.N. 2190 4. "Twelve New and beautiful pieces just published by F.A. North & Co."--advertisment page [60]

composed by Charles d''Albert. For piano. Cover title. Color lithographic cover: sultan riding towards left, small figures in background. F.A.N. 2190 4. "Twelve New and beautiful pieces just published by F.A. North & Co."--advertisment page [60]

Subject: oval bust portrait of Abdülaziz in uniform with orders, decorative border. Subject: oval bust portrait of Abdülaziz in uniform with orders, decorative border. Title continues: By Pierre Calkin. Price 4/-

Sultan of Turkey mounted in uniform, mosque in background; Alfred Concanen Lith, Siebe & Burnett, Imp. Sultan of Turkey mounted in uniform, mosque in background; Alfred Concanen Lith, Siebe & Burnett, Imp. Composed by C.H.R. Marriott. Pr. 3/-

Wood-engraved plate; sultan, mounted and in long cape, proceeding through street with soldier escort. Wood-engraved plate; sultan, mounted and in long cape, proceeding through street with soldier escort. From Gleason's Pictorial, Vol. VI, No. 13, April 1, 1854, page 196. New York, Milton L. Bernstein, 1946.

Bust portrait of sultan in uniform, enframement of wreath, flag below; by G.R., M. & N. Hanhart, Imp. Bust portrait of sultan in uniform, enframement of wreath, flag below; by G.R., M. & N. Hanhart, Imp. Composed by Stephen Glover. Price 3/-