Color aquatint semi-humorous plate after 'a Naval Officer' (Captain Frederick Marryat?); midshipmen smoking, drinking and relaxing around long table aboard ship, black servant and sailor fiddler also present. Color aquatint semi-humorous plate after 'a Naval Officer' (Captain Frederick Marryat?); midshipmen smoking, drinking and relaxing around long table aboard ship, black servant and sailor fiddler also present. Narrow oblong folio; margins trimmed close. N.Y., Rockman Prints, 1951.

Original pencil drawing signed "Melton Prior, Canea"; British officers in foreground attempting to persuade Turks to cease advance and attack against Cretans in rocky terrain. Original pencil drawing signed "Melton Prior, Canea"; British officers in foreground attempting to persuade Turks to cease advance and attack against Cretans in rocky terrain. For Illustrated London News, April 24, 1897, page 564. N.Y., Rockman Prints, 1954.

Subject: battle scene; J. Brandard ; M. & N. Hanhart, Imp. Subject: battle scene; J. Brandard ; M. & N. Hanhart, Imp. Title continues: Arranged for the piano forte and most respectfully dedicated to Lord Hardinge by John Pridham.

arranged by S. Knaebel. For piano. Cover lith. ill.: Indian chieftain, full-length, in ceremonial robes. Printed in Colors by Thayer & Co. Lith. Boston.

Chromolithograph after Norie; large uniform group, showing 17 uniforms. Chromolithograph after Norie; large uniform group, showing 17 uniforms. Oblong folio, matted; margins trimmed, label cut off separately. Bedford, Peter Young, 1951.

Wood engraved title page plate; carriage containing Lincoln and others in procession passing through lane of soldiers outside Capitol grounds; spectators in foreground. [See also: Grand Ball in honor of the Inauguration of President Lincoln]. Wood engraved title page plate; carriage containing Lincoln and others in procession passing through lane of soldiers outside Capitol grounds; spectators in foreground. [See also: Grand Ball in honor of the Inauguration of President Lincoln]. From Harper's Weekly, Vol. 5, No. 220, pl. 161. March 16, 1861. Hanover, N.H., Book & Print Shop, 1955.

A group of heroic figures representing the crowned heads of Europe chase Napoleon, who has the body of a tiger, but his own unmistakable profile, into the River Rhine. On the far left side of the sheet, Napoleon leaps from a grassy bank into the river. As he jumps he twists his head towards the fresh wounds in his side and back. Already his body is pierced with spear tips which have been broken off their handles. The imperial crown on his head has also been damaged and is falling apart. Of the European monarchs, the Czar of Russia is situated in the center of the image on horseback. The horse twists and rears at the edge of the cliff allowing the Czar, who wears Cossack robes, to get a clear strike at Napoleon. Behind him, Bernadotte of Sweden wears a cap topped by a star, and raises a lance towards Napoleon. In the foreground the King of Bavaria has his back turned on the viewer and likewise raises a spear which is inscribed with his identification. Having just thrown a spear that has found its mark in Napoleon's side, Russia continues to race towards the river bank. Russia is savage looking and bare chested, and he has a double headed eagle (incorrectly) plastered on his chest. On the far right an armored figure charges into the fray. The chest of the armor is decorated with a crest that is labeled "Prague," indicating that he is both the King of Bohemia and the Emperor of Austria. Troops with raised lances extend into the far distance. The print has been cropped and mounted on a larger piece of paper. A group of heroic figures representing the crowned heads of Europe chase Napoleon, who has the body of a tiger, but his own unmistakable profile, into the River Rhine. On the far left side of the sheet, Napoleon leaps from a grassy bank into the river. As he jumps he twists his head towards the fresh wounds in his side and back. Already his body is pierced with spear tips which have been broken off their handles. The imperial crown on his head has also been damaged and is falling apart. Of the European monarchs, the Czar of Russia is situated in the center of the image on horseback. The horse twists and rears at the edge of the cliff allowing the Czar, who wears Cossack robes, to get a clear strike at Napoleon. Behind him, Bernadotte of Sweden wears a cap topped by a star, and raises a lance towards Napoleon. In the foreground the King of Bavaria has his back turned on the viewer and likewise raises a spear which is inscribed with his identification. Having just thrown a spear that has found its mark in Napoleon's side, Russia continues to race towards the river bank. Russia is savage looking and bare chested, and he has a double headed eagle (incorrectly) plastered on his chest. On the far right an armored figure charges into the fray. The chest of the armor is decorated with a crest that is labeled "Prague," indicating that he is both the King of Bohemia and the Emperor of Austria. Troops with raised lances extend into the far distance. The print has been cropped and mounted on a larger piece of paper. The date, 5 December, 1813, is printed over the image in a colored border. Also in the border, the Satirist is named as publication in which this sheet was included. Printed Signature: Amateur delt. et sculpt.

This image is girded by two monumental, heroic figures: the Prince Regent to the left, and Alexander, Tsar of Russia, to the right. Napoleon balances on a stool (center l.), balances a basin on his lap, and brandishes a large shaving brush. He reaches towards the Prince Regent and attempts to shave the Prince's hallmark mutton-chop beard. To the left of the sheet, Murat makes the same attempt towards Alexander's whiskers. Although Murat has suceeded in lathering the right half of his face, the foam has turned to icicles and is useless. In reaction to Murat's efforts, Alexander gives Murat, who is bitten in the backside by the Russian bear, the boot. The King of Prussia (r.) and the Emperor of Austria (l.) sit on stools next to each other in the background. They complain about their rosy, freshly shaved cheeks and are swathed in white cloths, both still wearing their crowns. The Emperor of Austria holds his grandson, the infant King of Rome, on his knees. This image is girded by two monumental, heroic figures: the Prince Regent to the left, and Alexander, Tsar of Russia, to the right. Napoleon balances on a stool (center l.), balances a basin on his lap, and brandishes a large shaving brush. He reaches towards the Prince Regent and attempts to shave the Prince's hallmark mutton-chop beard. To the left of the sheet, Murat makes the same attempt towards Alexander's whiskers. Although Murat has suceeded in lathering the right half of his face, the foam has turned to icicles and is useless. In reaction to Murat's efforts, Alexander gives Murat, who is bitten in the backside by the Russian bear, the boot. The King of Prussia (r.) and the Emperor of Austria (l.) sit on stools next to each other in the background. They complain about their rosy, freshly shaved cheeks and are swathed in white cloths, both still wearing their crowns. The Emperor of Austria holds his grandson, the infant King of Rome, on his knees. Published by Tipper (according to Broadley), 1813-02-01. Plate is from the Satirist, xii, 97. British Museum, BM 12007. Caption: Satirist 1st February 1813 Dialogue: Prince Regent: "I shall continue to wear my whiskers as I please in spite of all opposition." Dialogue: Napoleon: "Begar me no can reach to shave de dam mustache of dat vile Regent for dis basin of water between us!" Dialogue: Two Kings: "Oh hone! I am shaved close enough!!!" "I am only half shaved! when will my terrible Son in Law finish his job?" Dialogue: Murat: "Ah Ha! foutre Bear! While I stoop for my razor I am kick & yet cant get away." Dialogue: Alexander "No Monsieurs! by St. Alexander Newski no shaving here!!!" Printed Signature: Satirist invt. Printed Signature: W. H. Brooke delt. Aqua Fortis fecit.

Equestrian portrait of Louis Napoleon in uniform, cuirassiers riding behind; Richard Pheney Lith, Stannard & Dixon Imp. Equestrian portrait of Louis Napoleon in uniform, cuirassiers riding behind; Richard Pheney Lith, Stannard & Dixon Imp. Composed and inscribed to H.L. De La Chaumette Esqre. by M. Nurich. Price 2/-

One of a pair of hand-colored copper engravings; equestrian military portraits, battle scenes in background. [See also: His Royal Highness Frederick Duke of York, Commander in Chief of the British Forces.] One of a pair of hand-colored copper engravings; equestrian military portraits, battle scenes in background. [See also: His Royal Highness Frederick Duke of York, Commander in Chief of the British Forces.] Upright; margins; worn; stained.

Precariously balanced on a sinking raft, Napoleon attempts to pull Alexander I into an embrace. Napoleon grasps Alexander by his shoulder and the back of his neck, and, pursing his lips, advances his face towards the Russian Czar. Alexander pulls back from the diabolical kiss, and in so doing he loses his crown and slips into the water pooling around the sinking raft. On the right, the King of Prussia has already fallen into the water and flounders as he swims to his floating crown and to the raft. He curses himself for being a "Prussian Cake," or, in other words, a fool (George, viii, 547). Boats filled with soldiers line the harbor. Those on the left fly the tricolor and carry standards topped by the Imperial Eagle; those on the left fly the Hapsburg Eagle. George writes that this satire is based on a meeting between Napoleon and Alexander I that occurred on 25 June and took place aboard a raft floating on the river Niemen. The meeting was very cordial and began with an embrace between the two leaders. However, the King of Prussia was excluded and was forced to watch the meeting on the shore. These negotiations eventually led to the Treaty of Tilsit, which cut Prussia in half. Precariously balanced on a sinking raft, Napoleon attempts to pull Alexander I into an embrace. Napoleon grasps Alexander by his shoulder and the back of his neck, and, pursing his lips, advances his face towards the Russian Czar. Alexander pulls back from the diabolical kiss, and in so doing he loses his crown and slips into the water pooling around the sinking raft. On the right, the King of Prussia has already fallen into the water and flounders as he swims to his floating crown and to the raft. He curses himself for being a "Prussian Cake," or, in other words, a fool (George, viii, 547). Boats filled with soldiers line the harbor. Those on the left fly the tricolor and carry standards topped by the Imperial Eagle; those on the left fly the Hapsburg Eagle. George writes that this satire is based on a meeting between Napoleon and Alexander I that occurred on 25 June and took place aboard a raft floating on the river Niemen. The meeting was very cordial and began with an embrace between the two leaders. However, the King of Prussia was excluded and was forced to watch the meeting on the shore. These negotiations eventually led to the Treaty of Tilsit, which cut Prussia in half. Published by Walker; uncolored impression. Whereas Broadley attributes this plate to Ansell, George attributes it to Williams. 1807-07-00 Caption: Pubd July 1807 by Walker No 7 Cornhill Dialogue: Napoleon: "My Dear Brother--recieve this Fraternal Embrace out of pure affection!" Dialogue: Alexander I: "Zounds Brother you'll squeeze me to death--besides I find my side of the raft is sinking very fast!" Dialogue: King of Prussia: "What a Prussian Cake I was to listen to him, I am afraid I shall never recover it." Annotation: 5-- Collector's Mark: [a triangle with a horizontal score through the middle] Collector's Mark: A

Engraving, numbered XVIII; full-length portrait in military costume with dagger and pistol in sash, sword, baton in hand. Engraving, numbered XVIII; full-length portrait in military costume with dagger and pistol in sash, sword, baton in hand. Upright, mounted on white paper, matted; plate mark, margins; slightly yellowed.

9th of 3 series of prints and 2 separate prints bound together; 4th of 4 colored aquatints by Hassell 'from a Painting by J.M. Wright, Esqr. from authentic information & documents'.'The retreat from Russia; Napoleon swathed in a fur cloak, riding with a companion in a sled drawn by four horses from left to right across a barren, snow-covered landscape, with a few haggard men on horseback riding alongside and a few exhausted foot-soldiers, two men lying dead in the left foreground, a gun-barrel and eagle abandoned to right' -- British Museum 9th of 3 series of prints and 2 separate prints bound together; 4th of 4 colored aquatints by Hassell 'from a Painting by J.M. Wright, Esqr. from authentic information & documents'.'The retreat from Russia; Napoleon swathed in a fur cloak, riding with a companion in a sled drawn by four horses from left to right across a barren, snow-covered landscape, with a few haggard men on horseback riding alongside and a few exhausted foot-soldiers, two men lying dead in the left foreground, a gun-barrel and eagle abandoned to right' -- British Museum Folio; bound in 3/4 green morocco stamped gold "Prints. Russian Campaign" and marble boards; worn, some plates foxed. London, Francis Edwards, 1951.

Subject: full-length portrait of Prince of Wales in uniform of 10th Hussars standing by chair; M. & N. Hanhart, Lith. Subject: full-length portrait of Prince of Wales in uniform of 10th Hussars standing by chair; M. & N. Hanhart, Lith. Title continues: By Ernest Hartmann. Band Master 10th Hussars. 'Dedicated by special permission to H.R.H. The Prince of Wales'--top of sheet.

Mounted in album 26 x 37 cm. London, Marlborough Rare Books, 1956

the symphonies & accompaniments by William Blondell. Caption title. First line verse: Ye gentlemen and ladies fair, who grace this famous city, just listen if you've time to spare, while I rehearse a dity . Wood-engraving of two Kentucky riflemen on each side of title. Text of campaign song in eight stanzas used by Andrew Jackson. Stanzas 2-7 engraved in two columns. At end of second column: Engrd. by T. Birch.

Combat between Hungarian hussar, Austrian cuirassier, other mounted troops fighting in background; H. Guerin, Hullmandel & Walton's Lithography. Combat between Hungarian hussar, Austrian cuirassier, other mounted troops fighting in background; H. Guerin, Hullmandel & Walton's Lithography. By Chas. D'Albert. Pr 2/6.

Color lithograph after Heath; uniform figures standing near barracks gate, groom carrying boots at right center. Color lithograph after Heath; uniform figures standing near barracks gate, groom carrying boots at right center. Small oblong folio, matted; margins; worn, creased. N.Y., Rockman Prints, 1949.

1st in collection of 4 wood-engraved song sheets; soldier faking illness, accepting medicinal herbs in hospital; 7-line verse from Giles Scroggins' Ghost printed below. 1st in collection of 4 wood-engraved song sheets; soldier faking illness, accepting medicinal herbs in hospital; 7-line verse from Giles Scroggins' Ghost printed below. Upright, matted; margins; edges worn, badly foxed. N.Y., Stewart Sale, 1952.

2nd in pair of original watercolor caricatures signed and dated by Junior (pseudonym); profile uniform figure, wearing monocle, with sword in one hand and cigarette in the other, striding toward right. 2nd in pair of original watercolor caricatures signed and dated by Junior (pseudonym); profile uniform figure, wearing monocle, with sword in one hand and cigarette in the other, striding toward right. Small upright folio, matted; margins; clean. London, Parker Gallery, 1952.

Original ink drawing signed on mount by Snaffles (pseudonym for Charles Johnston Payne); 3 mounted artillery drivers pulling gun-carriage. Original ink drawing signed on mount by Snaffles (pseudonym for Charles Johnston Payne); 3 mounted artillery drivers pulling gun-carriage. Narrow small oblong folio, mounted on white paper, matted. London, Parker Gallery, 1967.

One of a collection of 5 original signed watercolors by Heath (Gérard, François titles on back) of uniform figures and groups for Ackermann's Costumes of the British Army. The Horse Guards or Blues, undress, parade dress, full dress. One of a collection of 5 original signed watercolors by Heath (Gérard, François titles on back) of uniform figures and groups for Ackermann's Costumes of the British Army. The Horse Guards or Blues, undress, parade dress, full dress. Upright medium folio; no margins; clean. London, Harry H. Hymes, 1947.

Color lithograph caricature by and after H.B. (pseudonym of John Doyle), printed by C. Motte, published March 28th, 1831; guardsmen and sentries attempting to stop entrance of coach with personage (Henry Peter, 1st Baron Brougham) inside. HB Sketches No. 118. Color lithograph caricature by and after H.B. (pseudonym of John Doyle), printed by C. Motte, published March 28th, 1831; guardsmen and sentries attempting to stop entrance of coach with personage (Henry Peter, 1st Baron Brougham) inside. HB Sketches No. 118. Oblong folio, matted; margins trimmed;yellowed; edges torn; soiled. London, Parker Gallery, 1953.

Color lithograph by Dickinson Brothers; view of façade and entrance court of Horse Guards, showing part of Life Guards riding out into street, spectators at left and right including French officer, Indian, men, women and children, naval rating, etc. Color lithograph by Dickinson Brothers; view of façade and entrance court of Horse Guards, showing part of Life Guards riding out into street, spectators at left and right including French officer, Indian, men, women and children, naval rating, etc. Oblong medium folio, matted; margins; clean. London, Parker Gallery, 1952.

Hand-colored aquatint caricature after Rowlandson, published Jany. 1st, 1800; visitors, including cavalry officers, wife, and Yeoman Warder, inspecting mounted figures in armor. Hand-colored aquatint caricature after Rowlandson, published Jany. 1st, 1800; visitors, including cavalry officers, wife, and Yeoman Warder, inspecting mounted figures in armor. Oblong folio; margins trimmed close; clean; from Prince Stahremberg collection. N.Y., Walter Schatzki, 1965.

Color mezzotint by Richard Earlom after Reynolds, published 12th Feby. 1780; half-length portrait in naval uniform, hatless. Color mezzotint by Richard Earlom after Reynolds, published 12th Feby. 1780; half-length portrait in naval uniform, hatless. Upright folio, matted; plate mark, margins trimmed. London, Parker Gallery, 1966.

Original watercolor signed and dated by Simkin; 6 standing uniform figures, 2 holding pikes, 2 holding halberds, outside palace corner entrance. Original watercolor signed and dated by Simkin; 6 standing uniform figures, 2 holding pikes, 2 holding halberds, outside palace corner entrance. Oblong folio, matted; no margins; clean.

Color mezzotint (by E. Fisher) after Reynolds; 3/4-length portrait in uniform, hatless, outdoors. Color mezzotint (by E. Fisher) after Reynolds; 3/4-length portrait in uniform, hatless, outdoors. Upright medium folio, matted; plate mark, margins intact; clean. London, Parker Gallery, 1966.

Copper engraving by John Norman; bust portrait in uniform in oval frame. Copper engraving by John Norman; bust portrait in uniform in oval frame. Upright; plate mark, bottom and right margins partly torn or trimmed away; yellowed and soiled. From 'An impartial history of the war in America, between Great Britain and the United States, from its commencement to the end of the war. Boston : Printed by Nathaniel Coverly and Robert Hodge, at their office in Newbury-street, 1781-84'. Boston, Goodspeed, 1947.

Mezzotint by James McArdell after Chalmers, 1755; half-length portrait in uniform, landscape background with fort in left foreground, naval battle in right background. Mezzotint by James McArdell after Chalmers, 1755; half-length portrait in uniform, landscape background with fort in left foreground, naval battle in right background. Small upright folio; plate mark, margins trimmed; yellowed. N.Y., Rockman Prints, 1961.