Color lithograph print by Engelmann, published by Colburn, London, Dec. 1, 1826; standing figure in quasi-military costume. Frontispiece to 'Personal Narrative of a Journey from India to England, by Bussorah, Bagdad, the Ruins of Babylon, Curdistan, the Court of Persia, the Western Shore of the Caspian Sea, Astrakhan, Nishney Novogorod, Moscow, and St. Petersburgh, in the Year 1824', by The Hon. Capt. George Thomas Keppel, vol. 2 (London, Henry Colburn, 1827). [see corresponding watercolor]. Color lithograph print by Engelmann, published by Colburn, London, Dec. 1, 1826; standing figure in quasi-military costume. Frontispiece to 'Personal Narrative of a Journey from India to England, by Bussorah, Bagdad, the Ruins of Babylon, Curdistan, the Court of Persia, the Western Shore of the Caspian Sea, Astrakhan, Nishney Novogorod, Moscow, and St. Petersburgh, in the Year 1824', by The Hon. Capt. George Thomas Keppel, vol. 2 (London, Henry Colburn, 1827). [see corresponding watercolor]. Upright, margins intact; foxed and soiled. N.Y., Spencer, 1953.

Etching (second state, an impression from the Funck or Silberberg edition) after Hopfer; walking to left, a small dog between the soldiers legs.; initial "DH" on sword sheath. British Museum records this as a reverse copy after Erhard Schön. Etching (second state, an impression from the Funck or Silberberg edition) after Hopfer; walking to left, a small dog between the soldiers legs.; initial "DH" on sword sheath. British Museum records this as a reverse copy after Erhard Schön. Upright medium folio on heavy wove paper; margins intact; clean. N.Y., Ex Coll. Emmanuel Levy. Title supplied by cataloger

3rd in collection of 8 hand-colored plates of uniforms; mounted figure of lancer in blue jacket, red trousers, galloping toward left, looking back toward right. 3rd in collection of 8 hand-colored plates of uniforms; mounted figure of lancer in blue jacket, red trousers, galloping toward left, looking back toward right. Unbound; in red leatherette portfolio stamped gold "J. Wisehart. British Military Costume, c.1845"; slightly soiled. London, Parker Gallery, 1955.

by P. Berthoud. For piano. Cover lithographic illustration by Prang and Co. depicting Union soldiers charging Confederate battery. "To Asst. Surgeon, H. Hedge Mitchell, 39th. Regt. Mass. Vols."--Cf. cover.

Photogravure plate after a painting by Beaumetz in the Museé Petiet de Limoux; combat scene during the battle of Champigny on December 2, 1870; small group of French infantry charging up street and into building at right, Prussians firing on them from windows. Photogravure plate after a painting by Beaumetz in the Museé Petiet de Limoux; combat scene during the battle of Champigny on December 2, 1870; small group of French infantry charging up street and into building at right, Prussians firing on them from windows. Upright; plate mark, margins; foxed; in light blue cloth portfolio, red leather label stamped gold "Military paintings. Paris, Salon 1879-80". New York, Walter Schatzki, 1952.

7th in set of 17 engraved plates of scenes from Thirty Years' War, by Israel after Callot; soldiers attacking civilian caravan in forest, slaughtering and pillaging. 7th in set of 17 engraved plates of scenes from Thirty Years' War, by Israel after Callot; soldiers attacking civilian caravan in forest, slaughtering and pillaging. Oblong; margins trimmed close, inset-mounted; bound in 3/4 blue morocco stamped gold and blue marble boards; clean. N.Y., Bodley, 1948.

John Bull (l.) and Napoleon (r.) have faced off in the water of the English Channel. Muscular, shirtless and wigless, Bull has just leveled Napoleon with a strong punch. All that remains of Napoleon is his hat and black boots that bob on the surface of the water. On either side of the Channel, French and British citizens look on. British sailors on the left bank cheer Bull's victory from their vantage point on a grassy cliff. French soldiers, standing behind a fort with silent cannons, plead for mercy on behalf of Napoleon. Lower left corner torn off. A shadow of another image is visible on the front of this sheet (possibly from placement in an album on a facing page). John Bull (l.) and Napoleon (r.) have faced off in the water of the English Channel. Muscular, shirtless and wigless, Bull has just leveled Napoleon with a strong punch. All that remains of Napoleon is his hat and black boots that bob on the surface of the water. On either side of the Channel, French and British citizens look on. British sailors on the left bank cheer Bull's victory from their vantage point on a grassy cliff. French soldiers, standing behind a fort with silent cannons, plead for mercy on behalf of Napoleon. Lower left corner torn off. A shadow of another image is visible on the front of this sheet (possibly from placement in an album on a facing page). Published by Robert Ackermann, 1803-08-24. British Museum, BM 10073. Caption: Pubd at Ackerrmans Gallery 101 Strand London Augt 24. 1803 Dialogue: British men [left]: "John Bull forever- Hurra", "Huzza, Huzza", "Bravo, Bravo." Dialogue: John Bull [center]: "There my Lad. I think that blow will settle the Business: D__n me or he is gone in such a hurry he has left his hat and spurs behind him." Dialogue: French men [right]: "Ah, misrecorde, pauvre Bonoparte", "O Dat terrible Jean Bool."

One of 3 hand-colored engraved caricatures, published January 20, 1774. 'Whole length portrait of a naval officer standing in profile to the right. His hair is in a small pig-tail queue; his hat is under his right arm. In his right hand is a telescope; in his left a long cane. He stands in front of a low gun-embrasure behind which is the sea, with ships at anchor; in the distance is the Isle of Wight'. -- British Museum. Ink manuscript note top right identifies the sitter as Admiral Pye. One of 3 hand-colored engraved caricatures, published January 20, 1774. 'Whole length portrait of a naval officer standing in profile to the right. His hair is in a small pig-tail queue; his hat is under his right arm. In his right hand is a telescope; in his left a long cane. He stands in front of a low gun-embrasure behind which is the sea, with ships at anchor; in the distance is the Isle of Wight'. -- British Museum. Ink manuscript note top right identifies the sitter as Admiral Pye. Folio, matted. N.Y., Walter Schatzki, 1958.

Hand-colored etched caricature; rear view of dismounted lancer in voluminous pantaloons. Hand-colored etched caricature; rear view of dismounted lancer in voluminous pantaloons. Small upright folio, matted; plate mark, margins trimmed; slightly soiled. London, Parker Gallery, 1961.

Made after the Peace at Amiens, this satire depicts the wariness with which many greeted the celebrations of peace. As noted by Mary George, the men dancing in celebration around an allegorical figure holding an olive branch have expressions of mistrust on their faces. Even John Bull, who sits on a grassy tuft of land, plays his hornpipe with a suspicious lilt to his eyebrows. Of the figures dancing around the statue, Napoleon is the most prominent. Napoleon is situated in the center, his back to the viewer, and his face turned toward Bull in profile. Nelson stands next to Napoleon and clasps his outstretched arm. Like Napoleon, Nelson turns to look at Bull; however, his body is twisted in order to face the viewer. Partially obscured, a judge stands behind Nelson and assures, "Everything shall be done to your satisfaction Mr. Bull depend upon it." At the right of the image, Napoleon clasps hands with the willowy Pitt, who wears a bag wig and an elaborately ruffled shirt. Pitt extends a slender leg towards Napoleon, yet his body leans away from the swing of the dance. With his right hand, Pitt holds onto Fox's left. Fox is characteristically drawn wearing simple clothing that stretches over his stomach. Unlike Pitt, who appears refined, Fox is represented as a bon viveur with a round face and unruly hair. Significantly, neither Pitt nor Fox look at or address John Bull. Instead, they converse with each other and reconcile their differences. Made after the Peace at Amiens, this satire depicts the wariness with which many greeted the celebrations of peace. As noted by Mary George, the men dancing in celebration around an allegorical figure holding an olive branch have expressions of mistrust on their faces. Even John Bull, who sits on a grassy tuft of land, plays his hornpipe with a suspicious lilt to his eyebrows. Of the figures dancing around the statue, Napoleon is the most prominent. Napoleon is situated in the center, his back to the viewer, and his face turned toward Bull in profile. Nelson stands next to Napoleon and clasps his outstretched arm. Like Napoleon, Nelson turns to look at Bull; however, his body is twisted in order to face the viewer. Partially obscured, a judge stands behind Nelson and assures, "Everything shall be done to your satisfaction Mr. Bull depend upon it." At the right of the image, Napoleon clasps hands with the willowy Pitt, who wears a bag wig and an elaborately ruffled shirt. Pitt extends a slender leg towards Napoleon, yet his body leans away from the swing of the dance. With his right hand, Pitt holds onto Fox's left. Fox is characteristically drawn wearing simple clothing that stretches over his stomach. Unlike Pitt, who appears refined, Fox is represented as a bon viveur with a round face and unruly hair. Significantly, neither Pitt nor Fox look at or address John Bull. Instead, they converse with each other and reconcile their differences. Published by William Holland. Uncolored, a reduced copy of the original sheet, possibly published in 'London und Paris.' For a description of the original, see British Museum, BM 9728. This print in the Ann Mary Brown collection is not listed in Broadley. The small scale, the strong flat lines, and the creases in the print are consistent with the style and format of images published in 'London und Paris.' The sheet has been trimmed, however, so that the title, as well as the roman numerals that typically accompany images in 'London und Paris,' have been all but removed. Further complicating matters, George does not note that a reduced copy of the original sheet (BM 9728) was ever published. 1801 Dialogue: John Bull: "But I say my Lads, who is to pay the piper?" Dialogue: Nelson: "Bravo--Johnny you never played better." Dialogue: Judge: "Every thing shall be done to your satisfaction Mr. Bull depend upon it." Dialogue: Fox: "How Strange, that you and I should ever disagree." Dialogue: Pitt: "I told you I was right but you would not believe me."

Original pen and ink sketch, signed by Reeks, of Marines surrounding Japanese prisoner above a cave opening. Original pen and ink sketch, signed by Reeks, of Marines surrounding Japanese prisoner above a cave opening. Title from typed label affixed to verso. It continues: "However, most of them chose the grenade suicide or the flamethrower, which points ready with its operator behind it." Reeks joined the USMC in 1941 and saw action on Guadalcanal, New Georgia, Bougainville and Saipan. He was the only official combat artist to land on Iwo Jima with the invasion force and spent thirty days on the island sketching the campaign.

The ruined hulls of a Japanese cargo ship, a pontoon barge and an LVT are seen in the foreground. Undamaged ships are seen in the background. The ruined hulls of a Japanese cargo ship, a pontoon barge and an LVT are seen in the foreground. Undamaged ships are seen in the background. Title from typed label affixed to verso. Censor's stamp. Reeks joined the USMC in 1941 and saw action on Guadalcanal, New Georgia, Bougainville and Saipan. He was the only official combat artist to land on Iwo Jima with the invasion force and spent thirty days on the island sketching the campaign.

3rd in suite of 3 copper-engravings (engraved by Larmessin after Martin); Peter the Great, mounted, with aides, in foreground; panoramic view of battle and fortifications in background. 3rd in suite of 3 copper-engravings (engraved by Larmessin after Martin); Peter the Great, mounted, with aides, in foreground; panoramic view of battle and fortifications in background. Giant oblong folio, matted; plate mark, margins intact; clean; from Leichtenstein-Hauslab Collection. New York, Rockman Prints, 1954. original title in Russian, translated by cataloger

One of a collection of 4 original watercolor drawings after T.S. Robins. Hungarian Grenadier holding rifle, notation at bottom: Milan Sep. 27, 1832. One of a collection of 4 original watercolor drawings after T.S. Robins. Hungarian Grenadier holding rifle, notation at bottom: Milan Sep. 27, 1832. Upright, margins; in red cloth portfolio, white leather label stamped gold. N.Y., Rockman Prints, 1959.

words by J. Cheever Goodwin ; music by Edward E. Rice. Cover title. Decorated title-page. Lith. cover design after J.J. [Furzell?]: figures of infantrymen of 1775 and 1875 clasping hands across vignette of Bunker Hill Monument with troops in formation. With accompaniment for pianoforte.

1st in collection of 1 colored and 4 uncolored (including 1 duplicate) aquatint and engraved plates of uniform figures; lancer standing on ground holding horse by the reins. 1st in collection of 1 colored and 4 uncolored (including 1 duplicate) aquatint and engraved plates of uniform figures; lancer standing on ground holding horse by the reins. Small upright folio, matted folio and small folio; plate marks, margins trimmed; clean. Leichtenstein-Hauslab Collection, 1951.

Uncolored duplicate of 1st in collection of 1 colored and 4 uncolored aquatint and engraved plates of uniform figures, published July 1st, 1794, this one after James Gillray. 'A man with a long moustache standing holding a horse, looking back over his shoulder to left, wearing ankle boots, a tall turban decorated with oak leaves and a long tassel, a sword at his hilt and a spear with a small flag hanging from a shoulder strap and another worn diagonally across his body; on a hill-top' -- British Museum Uncolored duplicate of 1st in collection of 1 colored and 4 uncolored aquatint and engraved plates of uniform figures, published July 1st, 1794, this one after James Gillray. 'A man with a long moustache standing holding a horse, looking back over his shoulder to left, wearing ankle boots, a tall turban decorated with oak leaves and a long tassel, a sword at his hilt and a spear with a small flag hanging from a shoulder strap and another worn diagonally across his body; on a hill-top' -- British Museum Small upright folio; plate marks on some, all margins trimmed; clean. Leichtenstein-Hauslab Collection, 1951.

Colored lithograph (by Poortemans?); mounted uniform figure, facing left. Colored lithograph (by Poortemans?); mounted uniform figure, facing left. Upright, matted; margins trimmed; clean. London, Charles J. Sawyer, 1956.

4th in collection of 9 unsigned watercolors (by Lawson) copied from originals in library of India Office; profile view of bearded cavalryman in white outfit, with gun over shoulder, facing left. 4th in collection of 9 unsigned watercolors (by Lawson) copied from originals in library of India Office; profile view of bearded cavalryman in white outfit, with gun over shoulder, facing left. Unbound; in red cloth portfolio stamped green; clean. London, Lawson, 1965.

Color lithograph caricature by and after H.B. (pseudonym of John Doyle; William IV, mounted, the Duke of Wellington and aides riding towards left, outdoors. Color lithograph caricature by and after H.B. (pseudonym of John Doyle; William IV, mounted, the Duke of Wellington and aides riding towards left, outdoors. Oblong folio, matted; margins trimmed; yellowed.

In this dynamic caricature, the newly restored Louis XVIII occupies the central position. Depicted with his enormous stomach and large, gouty feet, he sits, blind, in a wheelchair throne and is pushed down a ramp by elf-like fools. As he begins his descent, Louis XVIII continues to make his grandiose speech while in his right hand he waves a flaming "Holy Roman Candle," and in his left a "Saw of Justice." Thus enflamed by blind ambition and empty rhetoric, the king and his minions chant for war. At the bottom of the ramp, a guillotine (r.) with outstreched arms reaches for the Bourbon king--his next victim. In lower left corner of the sheet, the figures of the deceased Louis XVI, here exhibiting his decapitated head, and Napoleon warn him of the consequences of ambition. Clearly, this new Louis has not learned the lessons of Louis XVI, or of Napoleon, who chastise him from the beyond. In the right background of the sheet, a group of soldiers emerge from the Chamber of Deputies. An elegantly dressed Deputy, Manuel, makes an eloquent speech while he is escorted out of the building. To the right of this group, members of the National Guard refuse to participate in Manuel's expulsion. Print has been torn and mended at the mid-left of the sheet. In this dynamic caricature, the newly restored Louis XVIII occupies the central position. Depicted with his enormous stomach and large, gouty feet, he sits, blind, in a wheelchair throne and is pushed down a ramp by elf-like fools. As he begins his descent, Louis XVIII continues to make his grandiose speech while in his right hand he waves a flaming "Holy Roman Candle," and in his left a "Saw of Justice." Thus enflamed by blind ambition and empty rhetoric, the king and his minions chant for war. At the bottom of the ramp, a guillotine (r.) with outstreched arms reaches for the Bourbon king--his next victim. In lower left corner of the sheet, the figures of the deceased Louis XVI, here exhibiting his decapitated head, and Napoleon warn him of the consequences of ambition. Clearly, this new Louis has not learned the lessons of Louis XVI, or of Napoleon, who chastise him from the beyond. In the right background of the sheet, a group of soldiers emerge from the Chamber of Deputies. An elegantly dressed Deputy, Manuel, makes an eloquent speech while he is escorted out of the building. To the right of this group, members of the National Guard refuse to participate in Manuel's expulsion. Print has been torn and mended at the mid-left of the sheet. Published by J. Fairburn, 1823-03-10. British Museum, BM 14510. Caption: Pubd March 10th 1823 by J. Fairburn Broadway Ludgate Hill London Dialogue: Louis XVIII: "War! War! War!-- war with Spain is indispensable - We will carry our measures at home & abroad with the point of the Bayonet - the Bourbons must be absolute Monarchs- the People must be slaves!!!" Dialogue: National Guard Prisoner: "Let others seek to debase the national character; they have no doubt a guilty interest in doing so. I will do everything in my power to preserve it's virtue.-- I do not expect an act of Justice; it is to one of vengence P that I resign myself.-- Sent to this Chamber by the will of those who had the right to send me here, I shall only leave it through the violence of those who have not the right to exclude me; and if this resolution on my part may draw on my head the gravest of dangers, I console myself that the field of liberty has sometimes been fertilized by generous blood." Dialogue: Soldiers: "We will not obey the order to expel M. Manuel- comrades, what say you to the Right about?" Dialogue: Guillotine: "What are you at!! What are you a'rter!!! I am really surprised at your blind stupidity!-- My appearance here-I assure you is with the most friendly intentions to warn you of your impending danger!-- But if you are bent on your own destruction, why come along!!-- Ca ira, ca ira, ca ira." Dialogue: Napoleon: "Silly Bourbon! Remember the consequences of my interfering with Spain--" Dialogue: Louis XVI: "O! Brother, Brother, be warned by my unhappy fate!!" Dialogue: Fools: chanting "War! War! War! Vive le Roi! Vive le Roi! Shove away Shatte Brain, this is a Glorious cause! Vive le Roi!"

Hand-colored etched caricature after I. Cruikshank, published Jany. 2, 1804; volunteer officer (Lt. Col. Thomas Erskine) in uniform at left and farmer at right looking up at politician (William Windham) standing on pedestal like a weather-vane; a little Napoleon gesticulates furiously, flourishing his sabre: "That's right my good fellow put down those cursed Volunteers & I'll soon come over, & then I'll call you a Boneite." Tents in distance. Hand-colored etched caricature after I. Cruikshank, published Jany. 2, 1804; volunteer officer (Lt. Col. Thomas Erskine) in uniform at left and farmer at right looking up at politician (William Windham) standing on pedestal like a weather-vane; a little Napoleon gesticulates furiously, flourishing his sabre: "That's right my good fellow put down those cursed Volunteers & I'll soon come over, & then I'll call you a Boneite." Tents in distance. Upright medium folio; margins trimmed, and left margin worn; stained and yellowed. N.Y., Walter Schatzki, 1964.

Unsigned sepia wash drawing; caricature figure of grenadier with heavy knapsack etc., dated 1778. Unsigned sepia wash drawing; caricature figure of grenadier with heavy knapsack etc., dated 1778. Small upright folio, in white board mount; margins; clean. N.Y., Rockman, 1959.

Chromolithograph; magnates, cardinal, symbolic figures etc. before bust of Stefan Széchenyi, trophies in foreground, colonnade etc. in background. Chromolithograph; magnates, cardinal, symbolic figures etc. before bust of Stefan Széchenyi, trophies in foreground, colonnade etc. in background. Large upright folio; margins trimmed; worn, lower left corner torn away. New York, Rockman Prints, 1957.

Hand-colored engraving; uniform figure with sword and musket. Hand-colored engraving; uniform figure with sword and musket. Upright small folio; mounted together with other prints in blue cloth loose-leaf album. London, Peter Young, 1946.

Original ink and watercolor drawing by Le Fure (?), dated Oct. 18th 1800; soldier with young woman selling flowers. Original ink and watercolor drawing by Le Fure (?), dated Oct. 18th 1800; soldier with young woman selling flowers. Oblong, matted medium folio; margins. N.Y., Rockman Prints, 1952.

One of 3 series of prints and 2 separate prints bound together; 3rd of 3 colored aquatints after von Schadow, published Feby. 24, 1814; winter scene, group of Cossacks and peasant men and women on road outside wooden buildings at right. One of 3 series of prints and 2 separate prints bound together; 3rd of 3 colored aquatints after von Schadow, published Feby. 24, 1814; winter scene, group of Cossacks and peasant men and women on road outside wooden buildings at right. Folio; bound in 3/4 green morocco stamped gold "Prints. Russian Campaign" and marble boards; worn, some plates foxed. London, Francis Edwards, 1951.

Color lithograph proof before letters; troops in field uniform and with camels stopped to rest and etc. in desert. Color lithograph proof before letters; troops in field uniform and with camels stopped to rest and etc. in desert. Large oblong folio, matted; margins; clean. Title supplied by cataloger. London, Parker Gallery, 1961.

One of 19 colored (with three uncolored) engraved caricatures, published Oct. 26, 1771; soldier in red coat with sword, standing and using a toothpick. One of 19 colored (with three uncolored) engraved caricatures, published Oct. 26, 1771; soldier in red coat with sword, standing and using a toothpick. Unbound; in red cloth portfolio, red leather backstrip label stamped gold; most clean, some worn.

Drypoint by P.A. Rajon after Gérôme; group of soldiers standing and sitting in portal; accompanied by 1 printed page of description. Drypoint by P.A. Rajon after Gérôme; group of soldiers standing and sitting in portal; accompanied by 1 printed page of description. Upright folio, mounted on white board; margins intact; clean. N.Y., Rockman, 1953.