composed & respectfully dedicated to the corps by Henry Russell. For piano. Lithograph on title page of military encampment in a wooded area; soldiers accompanied by a band, presenting arms for inspection / W.K.H.; J.T. Young, del.; N. Currier's Lith., N.Y. Pl. no.: 2199. "G.W. Quidor Engr."--Colophon.

Townscape: soldier carrying gun walking down road; small group of soldiers, in shadows, in distance. Townscape: soldier carrying gun walking down road; small group of soldiers, in shadows, in distance. Bostick joined the U.S. Navy in 1942 and served as an artist and cartographer. He worked on amphibious map reproductions for the invasion of Sicily in 1943 and the D-Day invasion, 1944.

Pointing ahead, General Havelock said, "There is this street. We see the worst. We shall be slated, but we can push through and get it over." It was just over half a mile to the Residency which was entered on 25 September, 1857. Pointing ahead, General Havelock said, "There is this street. We see the worst. We shall be slated, but we can push through and get it over." It was just over half a mile to the Residency which was entered on 25 September, 1857. Mounted in album 26 x 37 cm. London, Marlborough Rare Books, 1956

Watercolor signed and dated by Simpson, Feb. 1879; distant view of village in mountain pass, snow-toped mountains in distance. From an album compiled by Simpson entitled 'Original sketches made in Afghanistan during the campaign of 1878-79 with the Peshawer Field Force' Watercolor signed and dated by Simpson, Feb. 1879; distant view of village in mountain pass, snow-toped mountains in distance. From an album compiled by Simpson entitled 'Original sketches made in Afghanistan during the campaign of 1878-79 with the Peshawer Field Force' 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/)

Original ink and watercolor drawing signed by I. C(ruikshank); soldier and young woman seated in doorway, stared at by irate suitor walking by. Original ink and watercolor drawing signed by I. C(ruikshank); soldier and young woman seated in doorway, stared at by irate suitor walking by. Small oblong folio, mounted on gray paper, no margins; clean. 1960.

Hand-colored aquatint caricature; Life Guard, Guards' officer in bearskin, and dandies showing off whiskers in street, near London club entrance. Hand-colored aquatint caricature; Life Guard, Guards' officer in bearskin, and dandies showing off whiskers in street, near London club entrance. Oblong medium folio, matted; margins trimmed; worn, soiled. London, Parker Gallery, 1953.

Color lithograph (after E. R. White); group of 5 standing and seated old Chelsea Pensioners in uniform reading and discussing newspapers, indoors. Color lithograph (after E. R. White); group of 5 standing and seated old Chelsea Pensioners in uniform reading and discussing newspapers, indoors. Upright; captions entirely trimmed away; from 'Boy's Own Paper'. N.Y., Rockman Prints, 1959. Title supplied by cataloger.

Francis H. Brown. For solo piano. Caption title. Cover lith. ill. by Sarony & Major: Officer seated on doorstep with young woman; another man in background by door. "To Mrs William G. Tompkins"--Cover. "Gravé par Lawson."--Cf. p. 6. Price: $.50. Sheet music collection, v. 77, no. 19.

George III, at left, appears in this satire in the guise of "Farmer George," a mode of representation that highlights the paternal nature of the king in the service of the royal lineage and of his subjects. In this image he wears a simple brown coat, a striped waistcoat and yellow breeches protected by a blue apron. George III is drawn in profile and faces Napoleon across the "Channel"; his left hand rests on a shovel, his right gestures towards a shrub that flourishes in a gold-banded bucket. The plant George tends has a strong trunk, large oak leaves, and bears the British crown at the top. In contrast, Napoleon stands on a piece of barren ground and attempts to revive a lank, wilted plant also planted in a gold-banded bucket. The limp branches of the French Imperial tree are so atrophied that they cannot support Napoleon's Imperial crown. Here Napoleon wears the uniform of the First Consul, covered by arm gaiters and an apron. Behind him, a sword stands upright in a wheelbarrow full of gold coins; the words "Manure from Italy & Switzerland" are carved into the front plank of this cart. According to this satirist, Napoleon's attempts to nourish the crown and country of France using military force and foreign gains have effectively killed the plant. The strength of military rule in France is also indicated by the thriving pots of "Military Poppies" that crowd the back of the garden. Separated by the Channel and guarded by the "British Oak," George III declares that the fertile land of England will always be able to support the British crown. George III, at left, appears in this satire in the guise of "Farmer George," a mode of representation that highlights the paternal nature of the king in the service of the royal lineage and of his subjects. In this image he wears a simple brown coat, a striped waistcoat and yellow breeches protected by a blue apron. George III is drawn in profile and faces Napoleon across the "Channel"; his left hand rests on a shovel, his right gestures towards a shrub that flourishes in a gold-banded bucket. The plant George tends has a strong trunk, large oak leaves, and bears the British crown at the top. In contrast, Napoleon stands on a piece of barren ground and attempts to revive a lank, wilted plant also planted in a gold-banded bucket. The limp branches of the French Imperial tree are so atrophied that they cannot support Napoleon's Imperial crown. Here Napoleon wears the uniform of the First Consul, covered by arm gaiters and an apron. Behind him, a sword stands upright in a wheelbarrow full of gold coins; the words "Manure from Italy & Switzerland" are carved into the front plank of this cart. According to this satirist, Napoleon's attempts to nourish the crown and country of France using military force and foreign gains have effectively killed the plant. The strength of military rule in France is also indicated by the thriving pots of "Military Poppies" that crowd the back of the garden. Separated by the Channel and guarded by the "British Oak," George III declares that the fertile land of England will always be able to support the British crown. Whereas Broadley attributes this satire to Ansell, George suggests that Williams may be the author. 1803-02-10 Caption: Folios of Caracatures lent out for the Evening Caption: Pubd Feby 10th 1803 by S W fores No 50 Piccadilly Dialogue: George III, (l.): "No--No--Brother Gardener--though only a ditch parts our grounds--yet this is the spot for true Gardening,--here the Corona Britanica, and Heart of Oak, will flourish to the end of the world." Dialogue: Napoleon, (r.): "Why I don't know what is the reason--my Poppies flourish charmingly--But this Corona Imperialis is rather a delicate kind of a plant, and requires great judgement in rearing."

Hand-colored engraving by Rowlandson after Farnham published August 28, 1800. In this image the nations captured by Napoleon are slowly awakened by the rising sun of Spain and Portugal, which shines brightly on the horizon. Napoleon sits in the center of this image and is surrounded by representations of the various nations he conquered. To his right the Russian bear, muzzled by "Boneys Promises," sleeps soundly in a cradle rocked by Napoleon. Turkey has been so thoroughly thrashed that all that remains is contained in a basket marked "Turkish Wheat." Sweden, who stands behind Napoleon, answers the rising sun and calls his comrades to arms. He is joined by Austria (second figure from the right). The other figures in the image--Holland, who sleeps on a cask of ale, Denmark, who is muffled by a candle snuffer, and Prussia, who is now deranged--are still soundly asleep, or incapacitated. Poland has been so greatly diminished that it is reduced to a shadow in the background, while Naples is represented by a funerary memorial on the far left of the image. The accompanying text, printed at the bottom of the sheet, describes the figures in the image above. The verse issues a call to arms and encourages patriotism as a means to dispel tyranny. Hand-colored engraving by Rowlandson after Farnham published August 28, 1800. In this image the nations captured by Napoleon are slowly awakened by the rising sun of Spain and Portugal, which shines brightly on the horizon. Napoleon sits in the center of this image and is surrounded by representations of the various nations he conquered. To his right the Russian bear, muzzled by "Boneys Promises," sleeps soundly in a cradle rocked by Napoleon. Turkey has been so thoroughly thrashed that all that remains is contained in a basket marked "Turkish Wheat." Sweden, who stands behind Napoleon, answers the rising sun and calls his comrades to arms. He is joined by Austria (second figure from the right). The other figures in the image--Holland, who sleeps on a cask of ale, Denmark, who is muffled by a candle snuffer, and Prussia, who is now deranged--are still soundly asleep, or incapacitated. Poland has been so greatly diminished that it is reduced to a shadow in the background, while Naples is represented by a funerary memorial on the far left of the image. The accompanying text, printed at the bottom of the sheet, describes the figures in the image above. The verse issues a call to arms and encourages patriotism as a means to dispel tyranny. Inscription: Pubd. August 28 by R. Ackermann, No. 101 Strand Printed Signature: G. Sawler-Farnham Verse: Just as the rising sun dispels/ The gloom of night to bless us with new day,/ So genuine patriotism expels/ Vindictive Tyrants from despotic sway./ Thus Spain, the source of patriotic worth/ (A Rising-Sun of Freedom to the Earth)/ Invites the captive nations to forego/ The Yoke and crush their sanguinary Foe./ Why then ye Nations will thee not embrace/ The proferr'd Freedom smiling in your face-?/ Why dilli-dally when to sink or rise!/ Rests with yourselves - dare ye contemn [sic] the prize - / Is Freedom nothing worth, that for her sake/ Ye dare not e'en one gen'rous effort make?/ Alas! infatuated Monarchs see,/ What is, and what you fate must ever be./ Spain is a Sun arising to illume/ The three-fold horrors of your future doom,/ While she on Fredom's [sic] golden wings shall tow'r,/ The Arbitress of continental pow'r./ Russia's a Bear amid impending woes,/ Rock'd by the insidious Tyrant to repose./ Sweden's a warrior of Distinguished worth,/ Sweden hath giv'n to many heroes birth./ Austria's a Phoenix rising renovated,/ Whose genial warmth with Spain incorporated/ Longer disdains to crouch at the fell shrines/ Of Usurpation and the foulest crimes./ Prussia, poor Prussia with straight-jacket on/ And crown of Straw proves what delays have done./ Denmark too half extinguish'd shows/ The fruits of leaguing with Old England's Foes./ And Holland, drowsy Holland dreams/ Of aggrandizement, potent Kings and Queens/ While Poland's a mere shadow in the rear/ (As proof of something once existent there)/ Yields to the yoke, nor dares its shackles break,/ Lest by so doing she her freedom stake./ Poor silly mortals, will ye ever bow/ To the dead shrine of Tyrrany and Woe;/ Or by co-operation overwhelm/ The Scourge of Nations, and resume the helm.

composed and respectfully dedicated to Major Genl. Z. Taylor, commander of the army of occupation, by John C. Andrews. For piano. Cover title. Cover lith. ill. by Bufford: Gen. Taylor and aide, mounted, at edge of battlefield near tree.

Subject: British infantry in combat with Indian troops outside walled city; Augt. Butler, Lith., Stannard & Dixon, Imp. Subject: British infantry in combat with Indian troops outside walled city; Augt. Butler, Lith., Stannard & Dixon, Imp. Title continues: A song, the words by Miss Eliza Rogers, the music by Edward Herbert, Professor of Music St. Margaret's College, Crieff. 'Dedicated by permission to H.R.H. The Duke of Cambridge, Commander in Chief' Sheet trimmed, publishing information lacking.

The ghost of Louis XVI, (l.), appears in a cloud and confronts Napoleon, (r.), who is seated on a throne and wears the crown of France. Louis is depicted in profile and is dressed in elegant, old-fashioned clothing decorated with medals and trimmed with lace and gold embroidery. He holds his left hand in an open gesture and with his right he points at the crown on Napoleon's head and demands its return. Napoleon is covered in borrowed robes. The crown sits awkwardly on his head, and in place of medals and symbols of legitimacy he wears several pistols in his belt as well as a dagger tinged red that points menacingly at his inner thigh. The large armchair/throne behind him is topped by a small gold crown and embroidered with the letters "NR". Raising both hands in fright, Napoleon staggers backwards towards his throne. He appears to stumble up the short dais and trip on a small foot stool that lies before the chair. Eyes opened wide and mouth grimacing in fright, his face contorts as he utters "Angels and Ministers of Grace defends me" [Hamlet, i, 4.]. In the Shakespearean play, Hamlet speaks these lines upon encountering his father's ghost. Yet, the pose Napoleon assumes in his reaction to the ghost of Louis XVI is possibly derived from contemporary performances of the role made popular by the actor David Garrick. Not only is this caricature evidence of the borrowings from and awareness of theatrical productions in print culture, but a comparison between this sheet and J. McArdell's engraving of "David Garrick in the Ghost Scene," made after Benjamin Wilson's painting, illustrates the communication that occurred amongst the genres in eighteenth-century print culture. (See Hapgood, Robert. Hamlet. From the series Shakespeare in Production. plate 1 and p.131) The ghost of Louis XVI, (l.), appears in a cloud and confronts Napoleon, (r.), who is seated on a throne and wears the crown of France. Louis is depicted in profile and is dressed in elegant, old-fashioned clothing decorated with medals and trimmed with lace and gold embroidery. He holds his left hand in an open gesture and with his right he points at the crown on Napoleon's head and demands its return. Napoleon is covered in borrowed robes. The crown sits awkwardly on his head, and in place of medals and symbols of legitimacy he wears several pistols in his belt as well as a dagger tinged red that points menacingly at his inner thigh. The large armchair/throne behind him is topped by a small gold crown and embroidered with the letters "NR". Raising both hands in fright, Napoleon staggers backwards towards his throne. He appears to stumble up the short dais and trip on a small foot stool that lies before the chair. Eyes opened wide and mouth grimacing in fright, his face contorts as he utters "Angels and Ministers of Grace defends me" [Hamlet, i, 4.]. In the Shakespearean play, Hamlet speaks these lines upon encountering his father's ghost. Yet, the pose Napoleon assumes in his reaction to the ghost of Louis XVI is possibly derived from contemporary performances of the role made popular by the actor David Garrick. Not only is this caricature evidence of the borrowings from and awareness of theatrical productions in print culture, but a comparison between this sheet and J. McArdell's engraving of "David Garrick in the Ghost Scene," made after Benjamin Wilson's painting, illustrates the communication that occurred amongst the genres in eighteenth-century print culture. (See Hapgood, Robert. Hamlet. From the series Shakespeare in Production. plate 1 and p.131) Published by T. Williamson. For other uses of this line from Hamlet--and for use of Garrick's interpretation, see 'Physical Aid,' Broadley 696. 1803-06-01 Caption: London Pub by T Williamson 20 Strand June 1, 1804 Dialogue: Louis XVI, (l.): "THAT'S MINE!!!" Dialogue: Napoleon, (r.): "Angels and Ministers of Grace defends me."

Steel-engraving by Pound after photograph by J. and C. Watkins; 3/4-length portrait in uniform, seated. Steel-engraving by Pound after photograph by J. and C. Watkins; 3/4-length portrait in uniform, seated. Small upright folio, matted; margins intact; clean. N.Y., Rockman Prints, 1948.

Mezzotint by I. Faber after Ramsay; 3/4-length portrait in uniform, hatless, telescope in hand. Mezzotint by I. Faber after Ramsay; 3/4-length portrait in uniform, hatless, telescope in hand. Upright folio, mounted on paper, matted; margins severely trimmed; worn. London, Parker Gallery, 1954.

Mezzotint by Dupont after Gainsborough, published 26 July 1780; full-length portrait in uniform, hat in hand, fort on cliff in left background. Mezzotint by Dupont after Gainsborough, published 26 July 1780; full-length portrait in uniform, hat in hand, fort on cliff in left background. Large upright folio, matted; plate mark, margins severely trimmed; clean. London, Parker Gallery, 1960.

Mezzotint by Turner after Beechey, published April 1, 1818; full-length portrait in uniform, on deck, gesturing with left hand, holding telescope in right. Mezzotint by Turner after Beechey, published April 1, 1818; full-length portrait in uniform, on deck, gesturing with left hand, holding telescope in right. Large upright folio, matted; plate mark, margins. London, Parker Gallery, 1950.

Mezzotint by J. Jones after Beach; 3/4-length portrait in uniform, in outdoor setting. Mezzotint by J. Jones after Beach; 3/4-length portrait in uniform, in outdoor setting. Upright folio, matted; plate mark, margins trimmed; worn. London, Parker Gallery. 1950.

Mezzotint by J. Finlayson after Batoni; half-length portrait in uniform, hat under arm, outdoors. Mezzotint by J. Finlayson after Batoni; half-length portrait in uniform, hat under arm, outdoors. Upright folio, matted; margins severely trimmed; worn. N.Y., Argosy, 1955.

Mezzotint by Reynolds after Hoppner, published 1st Jany 1805; full-length portrait in uniform, outdoors, sword in right hand, pointing with left. Mezzotint by Reynolds after Hoppner, published 1st Jany 1805; full-length portrait in uniform, outdoors, sword in right hand, pointing with left. Large upright folio, matted; plate mark, margins trimmed. London, Parker Gallery, 1954.

Stipple engraving by Harding after Dahl, published Novr. 1, 1799; half-length portrait in armor. Stipple engraving by Harding after Dahl, published Novr. 1, 1799; half-length portrait in armor. Small upright, matted; margins trimmed; clean.

Original unsigned watercolor drawing for the print of the same title. Accompanies a companion portrait of mounted officer on parade ground in park, small figures of infantry formation in left background, Walmer Castle in left background. Original unsigned watercolor drawing for the print of the same title. Accompanies a companion portrait of mounted officer on parade ground in park, small figures of infantry formation in left background, Walmer Castle in left background. Upright folio, glued to green board; no margins; slightly worn or scratched. London, W. M. Sabin, 1950.

Hand-colored aquatint by Stadler after Hubert; equestrian portrait in uniform, sword in upraised hand, Walmer Castle in left background, various small figures in middle distance. Hand-colored aquatint by Stadler after Hubert; equestrian portrait in uniform, sword in upraised hand, Walmer Castle in left background, various small figures in middle distance. Upright folio, matted; margins trimmed; some foxing and yellowing.

Hand-colored stipple engraving by James Hopwood after Robertson; bust portrait in uniform, hatless. Hand-colored stipple engraving by James Hopwood after Robertson; bust portrait in uniform, hatless. Small upright, matted; margins trimmed; clean. N.Y., Rockman Prints, 1951.

Stipple-engraving by F. Bartolozzi after Reynolds, published by Cantelowe (Charles) Bestland, March 1, 1796; oval half-length portrait in uniform. Stipple-engraving by F. Bartolozzi after Reynolds, published by Cantelowe (Charles) Bestland, March 1, 1796; oval half-length portrait in uniform. Upright; plate mark, margins intact; clean. N.Y., Rockman Prints, 1962.

Lithograph by Vinter, printed by Hanhart, after photograph by Maull & Co.; oval 3/4-length portrait in uniform of Argyll and Sutherland Highlanders, hatless, sword under arm. Lithograph by Vinter, printed by Hanhart, after photograph by Maull & Co.; oval 3/4-length portrait in uniform of Argyll and Sutherland Highlanders, hatless, sword under arm. Large upright folio; margins trimmed; margin and corner torn. New York, Rockman Prints, 1957.

Color mezzotint by and after Burford; 3/4-length portrait in naval uniform, hatless, outdoors, warship in left background. Color mezzotint by and after Burford; 3/4-length portrait in naval uniform, hatless, outdoors, warship in left background. Upright folio, matted; severely trimmed and mounted on paper. London, Parker Gallery, 1966.

Mezzotint after Corbutt (pseudonym of Richard Purcell), published 10 May 1778; 3/4-length portrait in uniform, sword in right hand, pointing with left, on deck of ship, another ship in background. Mezzotint after Corbutt (pseudonym of Richard Purcell), published 10 May 1778; 3/4-length portrait in uniform, sword in right hand, pointing with left, on deck of ship, another ship in background. Upright folio, matted; plate mark, margins intact; creased, worn. N.Y., Old Print Shop, 1961.

Mezzotint by Say after Beechey; half-length portrait in uniform, hatless. Mezzotint by Say after Beechey; half-length portrait in uniform, hatless. Upright folio, matted; plate mark, margins intact. London, Parker Gallery, 1956.

Mezzotint by Ward after Reynolds, published Sept. 3, 1801; 3/4 length portrait in uniform, hatless, outdoors. Mezzotint by Ward after Reynolds, published Sept. 3, 1801; 3/4 length portrait in uniform, hatless, outdoors. Upright folio, matted; margins trimmed; clean. London, Parker Gallery, 1950.