50th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); officer and infantryman standing, in conversation, building with pillars in background; note on verso: "88th". 50th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); officer and infantryman standing, in conversation, building with pillars in background; note on verso: "88th". Oblong and upright, 61 pieces; a few soiled; in folio red cloth case, red leather label stamped gold. London, Francis Edwards, 1966.

Unsigned original watercolor by McNeill; officer and infantryman, in red jackets, conversing near pillared entryway. Title on verso. Unsigned original watercolor by McNeill; officer and infantryman, in red jackets, conversing near pillared entryway. Title on verso. Upright; no margins; stained.

54th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); officer and infantryman with grounded rifle, standing at corner of building; note on verso: "100th". 54th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); officer and infantryman with grounded rifle, standing at corner of building; note on verso: "100th". Oblong and upright, 61 pieces; a few soiled; in folio red cloth case, red leather label st. gold. London, Francis Edwards, 1966.

Etching (proof before letters) after a photograph by Walery (pseudonym of Count Stanislaw Julian Ostrorog); 3/4-length portrait in uniform, hand resting on table. Etching (proof before letters) after a photograph by Walery (pseudonym of Count Stanislaw Julian Ostrorog); 3/4-length portrait in uniform, hand resting on table. Small upright folio, matted; margins; clean. New York, Rockman Prints, 1951. Title supplied by cataloger

Henry Prince. For piano. Title page illustration: printed color lithograph full-length portrait of Albert Edward (later Edward VII), Prince of Wales from 1841-1901, in uniform and standing in front of soldiers / J.H. Bufford's Lith. Boston. "Composed & respectfully inscribed to Colonel H.R.H. the Prince of Wales."

Henry Prince. For piano. Title page illustration: printed color lithograph full-length portrait of Albert Edward (later Edward VII), Prince of Wales from 1841-1901, in uniform and standing in front of soldiers / J.H. Bufford's Lith. Boston. "Composed & respectfully inscribed to Colonel H.R.H. the Prince of Wales."

Second in pair of wood-engraved illustrations; review parade of infantry marching toward left, spectators in foreground right, mountain in background. Second in pair of wood-engraved illustrations; review parade of infantry marching toward left, spectators in foreground right, mountain in background. From Harper's Weekly, October 27, 1860, page 681 Hanover, N.H., Book & Print Shop, 1954.

Colored lithograph after Brandard, printed by Hanhart; Prince of Wales in Guards uniform in center foreground, near soldiers, saluting, Queen in barouche in left background; from music-sheet, 'The Royal Salute march', published by Brewer & Co. Colored lithograph after Brandard, printed by Hanhart; Prince of Wales in Guards uniform in center foreground, near soldiers, saluting, Queen in barouche in left background; from music-sheet, 'The Royal Salute march', published by Brewer & Co. Upright medium folio, matted; margins; edges worn.

British Museum catalogue: Godoy, as a savage and swashbuckling Spanish officer, forces two kneeling and terrified Portuguese to sign a peace treaty. His foot is on the document...with an arrogant and minatory gesture he puts the point of his large sabre on his signature: Prince of Peace. Close behind Godoy are ranks of Spanish soldiers, who level their muskets at the two Portuguese. Behind the latter on rising ground is the wall of a fortified town which is in flames; through a gateway women and children call for help. Godoy holds two muskets against his left shoulder; in his belt are four pistols; a dagger is thrust through the upturned brim of his feathered hat. All the Spaniards wear feathered hats and quasi-Elizabethan costume with slashed doublets and hose, and low top-boots. The Portuguese are similiarly dressed, but without hats, and with breeches reaching below the knee. British Museum catalogue: Godoy, as a savage and swashbuckling Spanish officer, forces two kneeling and terrified Portuguese to sign a peace treaty. His foot is on the document...with an arrogant and minatory gesture he puts the point of his large sabre on his signature: Prince of Peace. Close behind Godoy are ranks of Spanish soldiers, who level their muskets at the two Portuguese. Behind the latter on rising ground is the wall of a fortified town which is in flames; through a gateway women and children call for help. Godoy holds two muskets against his left shoulder; in his belt are four pistols; a dagger is thrust through the upturned brim of his feathered hat. All the Spaniards wear feathered hats and quasi-Elizabethan costume with slashed doublets and hose, and low top-boots. The Portuguese are similiarly dressed, but without hats, and with breeches reaching below the knee. Published July 22, 1801 by S. W. Fores, 50 Piccadilly Caption: Folios of Caracatures lent out for the Evening Caption: Pubd July 22d 1801 by S W Fores 50 Piccadilly Dialogue: Godoy: Come Sir speedily, or I shall put the whole Country to the sword, Men, Woemen & children -- I will not be trifled with!! remember I am the Prince of Peace. Portuguese plenipotentiary: For Heavens sake stop this effusion of Blood, let the destruction of three Citys suffice you. the Cries of oblige me to to, Yes I do know You are the Prince of Peace Text: Treaty of P[eace] between...

Original watercolor, signed and dated by Warren; battle scene showing rear view of massed Belgian infantry attacking French infantry in background, mounted officers in foreground left. Original watercolor, signed and dated by Warren; battle scene showing rear view of massed Belgian infantry attacking French infantry in background, mounted officers in foreground left. Oblong folio on gray sheet; margins; clean. New York, Harry Hymes, 1947

Original watercolor, signed and dated by Warren; battle scene showing rear view of massed Belgian infantry attacking French infantry in background, mounted officers in foreground left. Original watercolor, signed and dated by Warren; battle scene showing rear view of massed Belgian infantry attacking French infantry in background, mounted officers in foreground left. Oblong folio on gray mat; margins; clean. New York, Harry Hymes, 1947

Original watercolor signed by Norie; uniform group of officer and men during maneuvers, other troops at ease in background. Original watercolor signed by Norie; uniform group of officer and men during maneuvers, other troops at ease in background. Oblong folio, matted; no margins; clean. London, Parker Gallery, 1952. title provided by cataloger

Colored lithograph by Currier & Ives; Crown Prince Frederick, full-length in uniform, with Crown Princess, wearing court or ball gown and low tiara. Colored lithograph by Currier & Ives; Crown Prince Frederick, full-length in uniform, with Crown Princess, wearing court or ball gown and low tiara. Upright medium folio, matted; margins; margins discolored, worn, stained. N.Y., Harry H. Hymes, 1943.

17th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); 2 standing figures of infantryman and officer in red jackets, black helmets, in conversation outdoors; note on verso: "13th". 17th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale and Polden postcard series of uniform figures and groups (all infantry regiments and RAMC units shown except the following, for which drawings were either not made or else are now lacking : 1st, 4th, 17th, 19th, 21st, 37th, 38th, 52nd, 64th, 75th); 2 standing figures of infantryman and officer in red jackets, black helmets, in conversation outdoors; note on verso: "13th". Oblong and upright; a few soiled; in folio red cloth case, red leather label stamped gold. London, Francis Edwards, 1966.

Original watercolor sketch signed by McNeill; officer and infantryman, in red jackets, helmets, talking by gate, outdoors. (On oblong sheet, right half unpainted; title on verso.) Original watercolor sketch signed by McNeill; officer and infantryman, in red jackets, helmets, talking by gate, outdoors. (On oblong sheet, right half unpainted; title on verso.) Oblong folio; no margins; clean.

Color mezzotint caricature after Collet, No. 384, published 2d. July 1778; barmaid on duty with several admiring customers, including naval personnel in uniform at left. Color mezzotint caricature after Collet, No. 384, published 2d. July 1778; barmaid on duty with several admiring customers, including naval personnel in uniform at left. Upright folio, mounted on board, matted; clean. London, Parker Gallery, 1953.

Color mezzotint semi-humorous or sentimental plate, published 11th May 1795, with ballad or poem below; naval press-gang taking young man away from woman sweetheart, outdoors. Color mezzotint semi-humorous or sentimental plate, published 11th May 1795, with ballad or poem below; naval press-gang taking young man away from woman sweetheart, outdoors. Upright folio, matted; margins severely trimmed; soiled. [Another impression, as above, but uncolored, and with the only other difference being the spelling, "Seperation." Upright folio; plate mark; margins; in Robinson Collection, vol. IX, part I.] N.Y., Rockman Prints, 1950.

Poster encourages food conservation for the war effort. Poster encourages food conservation for the war effort. Printed in colors on white paper. At head of title portrait signed: Adolph Treidler of Woodrow Wilson. "America's food pledge 20 million tons."

Lithograph by Kimmel & Forster; oval bust portraits of Grant (in uniform) and Lincoln with figure of victory standing between, trophies, marching soldiers and sailors at bottom, 6 round illustrations of military and naval battles at left and right. Lithograph by Kimmel & Forster; oval bust portraits of Grant (in uniform) and Lincoln with figure of victory standing between, trophies, marching soldiers and sailors at bottom, 6 round illustrations of military and naval battles at left and right. Oblong folio, matted; margins trimmed; marginal tears. N.Y., Argosy, 1962.

Mezzotint by Turner after Countze published Feby. 21, 1801; Royal ladies, children and officials on platform at left presenting colors to mounted officer, other officers standing at right, soldiers standing in right background. Mezzotint by Turner after Countze published Feby. 21, 1801; Royal ladies, children and officials on platform at left presenting colors to mounted officer, other officers standing at right, soldiers standing in right background. Large oblong folio, matted; margins trimmed; edges worn, repaired tears. London, Peter Young, 1951.

Color lithograph by T. Picken after Tenniel; Queen Victoria on platform with military suite, presenting medals to queue of soldiers in Horse Guards Parade, soldiers formed in ranks at right, band at left, spectators and buildings in background. Color lithograph by T. Picken after Tenniel; Queen Victoria on platform with military suite, presenting medals to queue of soldiers in Horse Guards Parade, soldiers formed in ranks at right, band at left, spectators and buildings in background. Oblong folio, matted; margins trimmed; yellowed. London, Parker Gallery, 1950.

Hand-colored etched caricature (after Rowlandson), published July 15, 1804; 'Napoleon, wearing a chain and a large crown, stands awkwardly in front of a throne on a raised dais, his left hand on its arm, a dagger in his right hand pointing towards a sleeping Frenchman (Louis XVIII??) who sits at left, two other Frenchmen and a small ape in French costume seated sleeping beside him, a bear (Russia) seated at far left feigning sleep, one eye open to watch the rest of the action; at centre, the pope lies asleep on the ground in front of the throne, his fallen tiara and crozier beside him; at right, the sleeping parties include a Dutchman and two Spaniards; at far right, John Bull, wearing a cap lettered 'Libertas', sits in an armchair with his eyes wide open and an alert bulldog, gun and foaming tankard lettered 'Old English brown stout' at his feet. Napoleon, surveying the room, says, 'That confounded Bear has one eye open I see - watching John Bull.' Bull says, 'I'm not asleep - if the rest are - though I have got my Old fashion'd night cap on which bye the bye - I intend to keep on - I'll watch your motions my Lad depend upon it -' -- British Museum. Hand-colored etched caricature (after Rowlandson), published July 15, 1804; 'Napoleon, wearing a chain and a large crown, stands awkwardly in front of a throne on a raised dais, his left hand on its arm, a dagger in his right hand pointing towards a sleeping Frenchman (Louis XVIII??) who sits at left, two other Frenchmen and a small ape in French costume seated sleeping beside him, a bear (Russia) seated at far left feigning sleep, one eye open to watch the rest of the action; at centre, the pope lies asleep on the ground in front of the throne, his fallen tiara and crozier beside him; at right, the sleeping parties include a Dutchman and two Spaniards; at far right, John Bull, wearing a cap lettered 'Libertas', sits in an armchair with his eyes wide open and an alert bulldog, gun and foaming tankard lettered 'Old English brown stout' at his feet. Napoleon, surveying the room, says, 'That confounded Bear has one eye open I see - watching John Bull.' Bull says, 'I'm not asleep - if the rest are - though I have got my Old fashion'd night cap on which bye the bye - I intend to keep on - I'll watch your motions my Lad depend upon it -' -- British Museum. Oblong medium folio, matted; margins trimmed; clean.

One of a set of 3 unsigned (crude) watercolors of mounted and standing uniform figures. One of a set of 3 unsigned (crude) watercolors of mounted and standing uniform figures. Upright, one of 2 (3) pieces matted together; margins trimmed; clean. N.Y., Rockman Prints, 1950.

Original unsigned watercolor by Simpson; cadets and instructors working on construction of fascines and gabions etc. in foreground, buildings in background. Original unsigned watercolor by Simpson; cadets and instructors working on construction of fascines and gabions etc. in foreground, buildings in background. Reproduced in the Illustrated London News, July 12, 1856, page 52. London, Parker Gallery, 1960.

Copper-engraving; full length portrait in armor with banner on staff, plumed helmet on ground at left, battle in right background. Copper-engraving; full length portrait in armor with banner on staff, plumed helmet on ground at left, battle in right background. Small upright folio, matted; margins severely trimmed; slight foxing. N.Y., Rockman Prints, 1955.

Hand-colored engraving after Ramberg, publishied Jany. 6th, 1813; 2 mounted cossacks at left, 2 foot-soldiers at right. Hand-colored engraving after Ramberg, publishied Jany. 6th, 1813; 2 mounted cossacks at left, 2 foot-soldiers at right. Small oblong folio; margins severely trimmed; clean. New York, Rockman Prints, 1949.

This aquatint was issued folded into The Satirist, a magazine. It depicts Percival, dressed in Exchequer's robes, about to destroy a large spider's web with a broom. While Percival is not caricatured, the figures represented in the web are given insect bodies for their human heads. George has identified the large spider in the center as Whitbread, who advocated peace. Other insects are: Cochrane, wearing a cocked hat; Burdette, a waspish insect; Wardel, with broken wings, lying on his back. The building at the left distance is the Treasury office. At the right a large cheering crowd encourages Percival. At the far right edge of the image, two small figures, whom George identifies as countrymen, stop just in front of the web, arms raised in fright. Comically, one figure holds a tankard of frothy beer, a beverage he may blame for this vision. This aquatint was issued folded into The Satirist, a magazine. It depicts Percival, dressed in Exchequer's robes, about to destroy a large spider's web with a broom. While Percival is not caricatured, the figures represented in the web are given insect bodies for their human heads. George has identified the large spider in the center as Whitbread, who advocated peace. Other insects are: Cochrane, wearing a cocked hat; Burdette, a waspish insect; Wardel, with broken wings, lying on his back. The building at the left distance is the Treasury office. At the right a large cheering crowd encourages Percival. At the far right edge of the image, two small figures, whom George identifies as countrymen, stop just in front of the web, arms raised in fright. Comically, one figure holds a tankard of frothy beer, a beverage he may blame for this vision. This sheet is not listed in Broadley. Although it is unsigned, George attributes it to 'The Caricaturist General.' The use of a greedy and dangerous spider centered in his web is a common theme in Napoleonic caricatures. In the case of the sheet by Voltz, later published in England by Ackermann, and in Rowlandson's image, Napoleon is usually associated with the spider. Dialogue: Percival: "Destroy his web, his prophecy's in vain/ The Creature's at his dirty work again." Inscription: Published for the Satirist Feby 1st, 1812.

Standing on opposite banks of the English Channel, Napoleon Bonaparte (left) and William Pitt (right) challenge each other to a fight. Shown in profile, both have the bodies of roosters and their heads are marked by the distinct features of each man. Napoleon, the smaller of the two, has an elaborate feathered ruff around his neck, which hides his diminutive body. Pitt stands on the British crown and has elaborate plumage. In the right distance the British Royal Navy waits, daring the French to attack. Standing on opposite banks of the English Channel, Napoleon Bonaparte (left) and William Pitt (right) challenge each other to a fight. Shown in profile, both have the bodies of roosters and their heads are marked by the distinct features of each man. Napoleon, the smaller of the two, has an elaborate feathered ruff around his neck, which hides his diminutive body. Pitt stands on the British crown and has elaborate plumage. In the right distance the British Royal Navy waits, daring the French to attack. Dialogue: Napoleon: "Eh Master Billy, if I could take but a flight over this Brook, I would soon stop your Crowing, I would knock you off that Perch, I swear by Mahomet, the Pope, and all the Idols I have ever Worshiped." Dialogue: Pitt: "Tuck a roo - too that you never can do!!!" Inscription: Pubd March 27th 1803 by S. W. Fores 50 Piccadilly Inscription: Folios of Caracatures lent out for the Evening.

Hand-colored etching. 'Napoleon falls headlong over the head of an emaciated and misshapen white horse which falls to its knees over a rock inscribed 'Insaitable [sic] Ambition'. Its long streaming tail shows that it has fallen while galloping. General Bennigsen (r.) bestrides the animal's hind-quarters; he holds a halter, and threatens his falling enemy with his sword, saying, "You Bombastic Scoundrel, Robber Murdered [sic] Violator Incendiary &c &c & - You thought of reigning with your Iron Crown [see BMSat 10432] the North as well as the South, But know Tyrant that the Sons of the North are to be Your Supereior [sic]." Napoleon, falling backwards over the horse's head, cries, "Stop Stop, good Benningsen dont Kill a poor fellow, An Armistice An Armistice!!! I have very good Proposals of Peace for You." His sword, inscribed 'Oppression', and his cocked hat fall to the ground. French soldiers are in flight (l.). Behind Bennigsen and on the extreme right. John Bull, grotesque and obese, stands in profile to the left., clapping his hands; he shouts: "Bravo Bravo brave Russians One home stroke more & good Bye to Master Boney!" From his pocket hang two papers, both inscribed 'Defeat of the French' -- British Museum Hand-colored etching. 'Napoleon falls headlong over the head of an emaciated and misshapen white horse which falls to its knees over a rock inscribed 'Insaitable [sic] Ambition'. Its long streaming tail shows that it has fallen while galloping. General Bennigsen (r.) bestrides the animal's hind-quarters; he holds a halter, and threatens his falling enemy with his sword, saying, "You Bombastic Scoundrel, Robber Murdered [sic] Violator Incendiary &c &c & - You thought of reigning with your Iron Crown [see BMSat 10432] the North as well as the South, But know Tyrant that the Sons of the North are to be Your Supereior [sic]." Napoleon, falling backwards over the horse's head, cries, "Stop Stop, good Benningsen dont Kill a poor fellow, An Armistice An Armistice!!! I have very good Proposals of Peace for You." His sword, inscribed 'Oppression', and his cocked hat fall to the ground. French soldiers are in flight (l.). Behind Bennigsen and on the extreme right. John Bull, grotesque and obese, stands in profile to the left., clapping his hands; he shouts: "Bravo Bravo brave Russians One home stroke more & good Bye to Master Boney!" From his pocket hang two papers, both inscribed 'Defeat of the French' -- British Museum London Published by R Ackermann 101 Strand March 10th 1807 British Museum catalogue: 'The battle of Eylau was at first reported in England as a Russian victory.'

This sheet is a copy after a Gillray engraving originally published by Humphrey on 26 February, 1805. In this image, William Pitt and Napoleon greedily carve up the globe. Napoleon helps himself to a large portion containing Europe and northern Africa while Pitt slices through the Atlantic ocean taking the West Indies for himself. Sheet is mounted onto another sheet of paper. This sheet is a copy after a Gillray engraving originally published by Humphrey on 26 February, 1805. In this image, William Pitt and Napoleon greedily carve up the globe. Napoleon helps himself to a large portion containing Europe and northern Africa while Pitt slices through the Atlantic ocean taking the West Indies for himself. Sheet is mounted onto another sheet of paper. Published 1805-02-26. British Museum, BM 10371a. Both Napoleon and Pitt are ruthlessly satirized as Gillray implies that in the race for imperial property all governments are equally greedy. Caption: "the great globe itself, and all which it inherit, is too small to satisfy such insatiable appetites." Printed Signature: James Gillray inv. Plate Mark: No. XIV