Hand-colored engraving (crude), published May 1, 1814; carriage procession of King and Prince Regent at outskirts of London, escorted by Horse Guards, spectators cheering. Hand-colored engraving (crude), published May 1, 1814; carriage procession of King and Prince Regent at outskirts of London, escorted by Horse Guards, spectators cheering. Oblong folio, mounted on cardboard; margins trimmed; slightly soiled. N.Y., Rockman Prints, 1964.

One of a pair of hand-colored engravings (crude); heralds, Horse Guards, trumpeters, musicians, Lord Mayor in coach etc. at ceremony in city square; Prince Regent, Wellington and others arriving at left for ceremony on bridge lined by Horse Guards and decorated with banners, barges in river at right. [See also: Peace proclaimed.] One of a pair of hand-colored engravings (crude); heralds, Horse Guards, trumpeters, musicians, Lord Mayor in coach etc. at ceremony in city square; Prince Regent, Wellington and others arriving at left for ceremony on bridge lined by Horse Guards and decorated with banners, barges in river at right. [See also: Peace proclaimed.] Small oblong folio, print, matted together; margins trimmed. London, Spencer, 1953.

Hand-colored wood engraving, numbered 91; view of soldiers and guests feasting at long tables set up on parade ground, tents and buildings beyond. Hand-colored wood engraving, numbered 91; view of soldiers and guests feasting at long tables set up on parade ground, tents and buildings beyond. Small oblong folio, matted; margins trimmed; slightly soiled. London, Parker Gallery, 1963.

Hand-colored engraved strip showing procession of figures in robes of order and in court dress. Hand-colored engraved strip showing procession of figures in robes of order and in court dress. Small narrow oblong folio, mounted on white paper; margins trimmed close; yellowed. N.Y., Rockman Prints, 1958.

In this grotesquely comic travesty, Napoleon and the remnants of the French army arrive at the imposing city gates of Warsaw. Their figures are covered in the tatters of their uniforms stretched over their shockingly skeletal bodies. Drifts of cold snow top their heads and shoulders like mounds of cotton wool, the abundance of which calls attention to the sharp angularity of their skinny bodies. On the left of the satire, Napoleon arrives without fanfare or distinction; he sits on top of a group of bodies in a broken sleigh. His face registers despair as he peers out from underneath a blanket of snow that covers his cocked hat and his shoulders. The imperial sleigh is driven by a soldier who wears a bonnet rouge and urges the emaciated horse onwards by beating it with a straw broom and by kicking its backside with his sharp spurs. The horse, unable to take another step, collapses dead in its harness. A drummer boy, wearing large slippers, trudges at the sleigh's side. In the center of the image, another soldier, who wears a star of the Legion of Honor, attempts to fend off attacking crows with a saber and a pistol. The horse he rides is additionally burdened with a large straw pannier filled with red-bonneted figures who watch the crows with terror. In the left foreground, two figures who have been reduced to skin and bones walk barefooted through the snow. The figure on the left is covered in rags and snow; he turns to address his companion, who has tied the sleeves of his coat around his scrawny hips. Ironically, he exclaims that the Poles will mistake the pair for Adam and Eve, the Old Testament couple who were expelled from the Garden of Eden. On their right, a crazed figure urges urges his emaciated horse on with a large bone that he employs as a club. In this grotesquely comic travesty, Napoleon and the remnants of the French army arrive at the imposing city gates of Warsaw. Their figures are covered in the tatters of their uniforms stretched over their shockingly skeletal bodies. Drifts of cold snow top their heads and shoulders like mounds of cotton wool, the abundance of which calls attention to the sharp angularity of their skinny bodies. On the left of the satire, Napoleon arrives without fanfare or distinction; he sits on top of a group of bodies in a broken sleigh. His face registers despair as he peers out from underneath a blanket of snow that covers his cocked hat and his shoulders. The imperial sleigh is driven by a soldier who wears a bonnet rouge and urges the emaciated horse onwards by beating it with a straw broom and by kicking its backside with his sharp spurs. The horse, unable to take another step, collapses dead in its harness. A drummer boy, wearing large slippers, trudges at the sleigh's side. In the center of the image, another soldier, who wears a star of the Legion of Honor, attempts to fend off attacking crows with a saber and a pistol. The horse he rides is additionally burdened with a large straw pannier filled with red-bonneted figures who watch the crows with terror. In the left foreground, two figures who have been reduced to skin and bones walk barefooted through the snow. The figure on the left is covered in rags and snow; he turns to address his companion, who has tied the sleeves of his coat around his scrawny hips. Ironically, he exclaims that the Poles will mistake the pair for Adam and Eve, the Old Testament couple who were expelled from the Garden of Eden. On their right, a crazed figure urges urges his emaciated horse on with a large bone that he employs as a club. Published by Knight. Not listed in the British Museum 1813-02-00 Caption: Pubd by S. Knight Sweetings Alley Royal Exchange Feby 1813 Dialogue: Figure second from left: "By gar de people vill take us for Adam & Eve!!" Figure shooting at crows: "D__n de Crows dey vill not vait till ve are dead!!" Annotation: TH4.53 Collector's Mark: A

Napoleon (center), wearing ridiculous plumes and elaborate military dress, frowns at a dispatch he has just received. He stands with arms and legs flung wide; a sheet of paper on which is inscribed "The Conquest of y/e Chouans, an Old Song to a New Tune," falls from his left hand to the floor. Behind Napoleon, the Second and Third Consuls (r.) look over his shoulders in an attempt to read the dispatch. The Consuls, who mimic Napoleon's expression with exaggerated disbelief, are depicted like buffoons. The figure on the right even wears a fringed collar. To the left, a messenger wearing a bonnet rouge stands nearby and patiently waits for a reply. Torn at mid-left bottom of sheet. An attempt to repair the paper had been made eariler; now it is again torn and is discolored along tear. Napoleon (center), wearing ridiculous plumes and elaborate military dress, frowns at a dispatch he has just received. He stands with arms and legs flung wide; a sheet of paper on which is inscribed "The Conquest of y/e Chouans, an Old Song to a New Tune," falls from his left hand to the floor. Behind Napoleon, the Second and Third Consuls (r.) look over his shoulders in an attempt to read the dispatch. The Consuls, who mimic Napoleon's expression with exaggerated disbelief, are depicted like buffoons. The figure on the right even wears a fringed collar. To the left, a messenger wearing a bonnet rouge stands nearby and patiently waits for a reply. Torn at mid-left bottom of sheet. An attempt to repair the paper had been made eariler; now it is again torn and is discolored along tear. Published by Samuel W. Fores, 1800-01-30. British Museum, BM 9512. The message inscribed on the dispatch Napoleon holds reflects the British skepticism towards the overtures of the French. Although rife with misspellings and colloquialisms, Bull's words are commonse and direct--a contrast to the flowery language of diplomacy which often conceals more than it reveals. Caption: Publishd Jany 30th--1800 by S W Fores Piccaddilly Dialogue: The dispatch: "Mounseer Beau-Naperty/ I read your Parly Vouse & have only to say I was not born yesterDay, take that as you Like it, I am not easily humm'd, -Look before you leap is a Good Old Proverb, take two bites at a Cherry, old birds are not Easily Caught by Chaff; Yours as you Behave yourself/ Bull." Dialogue: Paper dropped by Napoleon: "The Conquest of ye Chouans an Old Song to a New tune"

Hand-colored engraving by Davenport after Corbould, published May 31st, 1809; mounted officers conferring and directing in left foreground, British infantry charging French in background. Hand-colored engraving by Davenport after Corbould, published May 31st, 1809; mounted officers conferring and directing in left foreground, British infantry charging French in background. Oblong, matted; plate mark, margins intact. London, Parker Gallery, 1965.

One of a set of 3 color lithographs after Burgess, printed by A. Cucote, published Octr. 25th, 1839; ball in progress in timbered hall, showing persons in evening dress and uniform One of a set of 3 color lithographs after Burgess, printed by A. Cucote, published Octr. 25th, 1839; ball in progress in timbered hall, showing persons in evening dress and uniform Oblong folio; margins trimmed; soiled, creased. London, Spencer, 1955.

composed for the piano forte and inscribed to Col. Thios. F. Peers, Commandant by Charles M. King. For piano. Cover illustration: Assemblage of military and patriotic items (cannon, drum, rifle, flags, eagle, etc.)--possibly a crest of the Governor's guard.

John Bull, (r.), and Napoleon, (l.), stand on a large map or globe that is marked with irregular borders bearing no relation to the actual topography or borders of Europe. The satirist has chosen to represent Napoleon as a giant striding over Europe, adding new territories to his empire. Napoleon wears the uniform of the First Consul and his hallmark cocked hat and black jack boots. He stands with one foot planted in Germany, his other partially in Holland and partially in the British Channel. John Bull, a tiny figure, stands astride Britain and Ireland and protects them from Napoleon's advances. Already Bull has cut off the tip of Napoleon's foot. In response Napoleon jumps back and cries in pain; he drops his sword and is clearly crippled. John Bull, (r.), and Napoleon, (l.), stand on a large map or globe that is marked with irregular borders bearing no relation to the actual topography or borders of Europe. The satirist has chosen to represent Napoleon as a giant striding over Europe, adding new territories to his empire. Napoleon wears the uniform of the First Consul and his hallmark cocked hat and black jack boots. He stands with one foot planted in Germany, his other partially in Holland and partially in the British Channel. John Bull, a tiny figure, stands astride Britain and Ireland and protects them from Napoleon's advances. Already Bull has cut off the tip of Napoleon's foot. In response Napoleon jumps back and cries in pain; he drops his sword and is clearly crippled. Published by Samuel W. Fores. Whereas Broadley attributes this image to Ansell, George gives attribution to Williams. 'Folios of Caricatures Lent out for the Evening.' 1803-04-16 Caption: Pubd April 16 1803 by S W Fores 50 Piccadilly Dialogue: Napoleon: "Ah you tam John Bull!! You have Spoil my Dance!! You have ruin all my Projets!!" Dialogue: John Bull: "I ax pardon Master Boney, but as we says Paws off Pompey, we keep this little spot to Ourselves You must not Dance here Master Boney." Inscription: Folios of Caricatures Lent out for the Evening

Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; infantryman standing at attention at left, facing officer in white jacket, writing on pad. Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; infantryman standing at attention at left, facing officer in white jacket, writing on pad. Upright folio on board, unbound, in red portfolio stamped gold, "Original oil paintings for British regimental prints c. 1900-1910".

2nd of 2 original watercolors signed by A(nderson); standing figure, in green uniform, with kilt. 2nd of 2 original watercolors signed by A(nderson); standing figure, in green uniform, with kilt. Small upright folio, matted; margins intact; clean. London, Parker Gallery, 1963. Title supplied by cataloger

Original watercolor caricature on brown paper by George; standing profile figure in uniform, right hand on grounded sword. Original watercolor caricature on brown paper by George; standing profile figure in uniform, right hand on grounded sword. Upright medium folio, matted; margins. London, Parker Gallery, 1963.

Hand-colored engraving caricature (after HB - pseudonym of John Doyle), published Novr. 13, 1829; Duke of Cumberland without mustache in center, Life Guard on left and other Guards in dress and undress uniforms stare at him. Hand-colored engraving caricature (after HB - pseudonym of John Doyle), published Novr. 13, 1829; Duke of Cumberland without mustache in center, Life Guard on left and other Guards in dress and undress uniforms stare at him. Upright folio, matted; margins trimmed; clean. London, Parker Gallery, 1958.

Part of collection of 66 original signed oil paintings by Payne for Gale & Polden postcards; rear view of infantryman presenting arms in left foreground, to saluting officer in profile, walking, at right; note on verso : "no. 63, set 11". Part of collection of 66 original signed oil paintings by Payne for Gale & Polden postcards; rear view of infantryman presenting arms in left foreground, to saluting officer in profile, walking, at right; note on verso : "no. 63, set 11". Upright folio on board, unbound, in red portfolio stamped gold, "Original oil paintings for British regimental prints c. 1900-1910".

One of a group of 3 unsigned watercolors of single standing uniform figures of privates. [See also: 28th North Gloucestershire Regiment 1826; and 61st South Gloucestershire Regiment 1856.] One of a group of 3 unsigned watercolors of single standing uniform figures of privates. [See also: 28th North Gloucestershire Regiment 1826; and 61st South Gloucestershire Regiment 1856.] Upright, matted; margins. London, Parker Gallery, 1961.

29th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale & 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 uniform figures of infantrymen with grounded rifles, facing each other outdoors; note on verso: "28th". 29th in collection of 61 tempera drawings on board, signed, and most dated, by McNeill, for Gale & 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 uniform figures of infantrymen with grounded rifles, facing each other outdoors; note on verso: "28th". Oblong and upright; in folio red cloth case, red leather label stamped gold. London, Francis Edwards, 1966.

Unsigned original watercolor by McNeill; 2 infantrymen in red jackets conversing, shrubbery in background. Title on verso. Unsigned original watercolor by McNeill; 2 infantrymen in red jackets conversing, shrubbery in background. Title on verso. Upright; no margins; stained. For Gale & Polden postcard.

Engraving published April 7, 1800; emblematic design showing lion and dragon fighting in boats in centre, symbolic devices above and at sides, trophies below and at outer left and right, arms at bottom. Engraving published April 7, 1800; emblematic design showing lion and dragon fighting in boats in centre, symbolic devices above and at sides, trophies below and at outer left and right, arms at bottom. Oblong medium folio, matted; margins; creased, slightly soiled. N.Y., Rockman Prints, 1953.

Four wrathful ghosts of ancient kings of Spain arrive in a cloud of smoke to condemn Charles IV along with his family and Godoy. The Spanish Bourbons cower on the ground and are aware of their failure to keep the kingdom from Napoleon, who is shown here snatching the crown from Charles's head. On the left of the image, Ferdinand turns towards a ghost and points an accusatory finger at Godoy who bows to bury his head in the queen's lap. While Ferdinand blames Godoy for the royal family's misfortune, the ghost reminds him that as a prince, he is responsible for the family's fate. Sheets of paper sticking out of Godoy's pocket clearly indicate his guilt. Significantly, the papers are labeled "Correspond[ence] Between Godoy & Boney," and "To the Prince [of] Peace." Bowing low, he seeks the queen's protection. However, the queen is herself at fault. Here, she covers her eyes indicating that she is unwilling to acknowledge or watch the spectacle. Mirroring the pose of the Prince, Charles IV, wholly terrified, turns to the ghosts pleading mercy. The miserable excuse he offers meets no sympathy from the specter who responds by cursing the royal family with disgrace and vengeance. Napoleon is indifferent to the apparitions. With a smile on his face he removes the crown from Charles in order to give it to his brother Joseph Bonaparte. John Bull, the fat 'cit' who stands behind Napoleon at the far right of the image, orders him to stop. According to Bull the crown will fit more snugly on Ferdinand's head than it will on Joey's. Four wrathful ghosts of ancient kings of Spain arrive in a cloud of smoke to condemn Charles IV along with his family and Godoy. The Spanish Bourbons cower on the ground and are aware of their failure to keep the kingdom from Napoleon, who is shown here snatching the crown from Charles's head. On the left of the image, Ferdinand turns towards a ghost and points an accusatory finger at Godoy who bows to bury his head in the queen's lap. While Ferdinand blames Godoy for the royal family's misfortune, the ghost reminds him that as a prince, he is responsible for the family's fate. Sheets of paper sticking out of Godoy's pocket clearly indicate his guilt. Significantly, the papers are labeled "Correspond[ence] Between Godoy & Boney," and "To the Prince [of] Peace." Bowing low, he seeks the queen's protection. However, the queen is herself at fault. Here, she covers her eyes indicating that she is unwilling to acknowledge or watch the spectacle. Mirroring the pose of the Prince, Charles IV, wholly terrified, turns to the ghosts pleading mercy. The miserable excuse he offers meets no sympathy from the specter who responds by cursing the royal family with disgrace and vengeance. Napoleon is indifferent to the apparitions. With a smile on his face he removes the crown from Charles in order to give it to his brother Joseph Bonaparte. John Bull, the fat 'cit' who stands behind Napoleon at the far right of the image, orders him to stop. According to Bull the crown will fit more snugly on Ferdinand's head than it will on Joey's. Published by Walker, No. 7, Cornhill. Uncolored engraving. Whereas Broadley attributes this sheet to Ansell, George attributes it to Williams. 1808-07-00 Caption: Pubd July 1808 by Walker No 7 Cornhill Dialogue: Ferdinand: "Here is the cause of our Disgrace." Dialogue: Ancestral Ghost behind Ferdinand: "Remember you are a Prince." Dialogue: Ancestral Ghost behind Charles IV: "Disgrace to your Ancestors, tremble for Vengence will overtake you!" Dialogue: Charles IV: "Oh don't look so frowningly on a poor miserable Old King." Dialogue: Napoleon: "Don't be alarmed my good Friend, I'll take care of your Crown, it can't be in better hands, I think it will fit Brother Joey!" Dialogue: John Bull: "Stop my little Gentleman, you'll find there is a person call'd Ferdinand it will fit much better than Joey." Annotation: 5- [indecipherable]/395 Collector's Mark: [a triangle with a horizontal score mark through it] Collector's Mark: A

Hand-colored etched caricature (after Cruikshank), published March 28, 1808; ghost of Admiral Byng in uniform with death sentence in hand appearing at left to plague terrified army officer (General Whitelocke) seated on sofa at right. Hand-colored etched caricature (after Cruikshank), published March 28, 1808; ghost of Admiral Byng in uniform with death sentence in hand appearing at left to plague terrified army officer (General Whitelocke) seated on sofa at right. Oblong medium folio, mounted on blue paper; margins trimmed; worn, foxed. N.Y., Walter Schatzki, 1961.

Hand-colored mezzotint caricature by Lourie after Bandoin; 2 soldiers and sergeant at left center dragging off young farmer, small figures of drummer and fifer in background, 3 weeping women outside cottage at right. Hand-colored mezzotint caricature by Lourie after Bandoin; 2 soldiers and sergeant at left center dragging off young farmer, small figures of drummer and fifer in background, 3 weeping women outside cottage at right. Oblong medium folio, matted; plate mark, margins trimmed close; edges soiled. N.Y., Rockman Prints, 1945.

Original watercolor, signed and dated by Warren; battle scene showing group of French lancers at right foreground, confronted by cavalry attack approaching in left background; Prussian wounded and riflemen sniping in foreground left. Original watercolor, signed and dated by Warren; battle scene showing group of French lancers at right foreground, confronted by cavalry attack approaching in left background; Prussian wounded and riflemen sniping in foreground left. Oblong folio on gray mat; margins; clean. New York, Harry Hymes, 1947

Watercolor signed and dated 1871, showing the German Kaiser seated and smoking a pipe, holding the hand of a woman in a woodland; inscribed references to the Franco-Prussian war of 1870 Watercolor signed and dated 1871, showing the German Kaiser seated and smoking a pipe, holding the hand of a woman in a woodland; inscribed references to the Franco-Prussian war of 1870 Signed with initials R.C. and dated October 1871. Indistinct text on left margin: [C]arl tells [Gr]etchen [a] story...

The female embodiment of France is represented as a grotesque woman dressed in a bloodstained dress and a liberty cap. She is seated on a throne and carries Napoleon (in miniature) on her right arm while she holds a rattle--the scepter of the King of England--aloft in her left hand. Napoleon smiles as he reaches for the British royal scepter; he already holds the French imperial scepter. A wicker cradle is at the harridan's feet. Behind her a bloody lance is propped against the wall and a shield, bearing the tricolor and decorated with an image of George III's disembodied head over a upside-down crown, lies against the back of her throne. The words "Vive la Republique" and "the Last of Kings" are inscribed on the shield. The female embodiment of France is represented as a grotesque woman dressed in a bloodstained dress and a liberty cap. She is seated on a throne and carries Napoleon (in miniature) on her right arm while she holds a rattle--the scepter of the King of England--aloft in her left hand. Napoleon smiles as he reaches for the British royal scepter; he already holds the French imperial scepter. A wicker cradle is at the harridan's feet. Behind her a bloody lance is propped against the wall and a shield, bearing the tricolor and decorated with an image of George III's disembodied head over a upside-down crown, lies against the back of her throne. The words "Vive la Republique" and "the Last of Kings" are inscribed on the shield. Title: The Genius of France Nursing her Darling Inscription: Publish'd Nov'r. 26th. 1804 by H. Humphrey 27 St. James's Street London Dedication: There's a little King Pippin/ He shall have a Rattle & Crown/ *Bless thy five wits my Baby Mind it don't throw itself down! Hey My Kitten, my kitten... Printed Signature: T. Bi_d__lle___ delt. Nov'r. 23d 1804 Annotation: *"False of Heart, light of Ear, bloody of Hand,/ Fox in Stealth, Wolf in Greediness, Dog in Madness,/ Lion in Prey; bless thy Five wits." vide Shakespeare's King Lear.

Sepia lithograph by Maclure, Macdonald & Macgregor after Crowquill (pseudonym of Alfred Henry Forrester); group of standing and seated prisoners with small girl. Sepia lithograph by Maclure, Macdonald & Macgregor after Crowquill (pseudonym of Alfred Henry Forrester); group of standing and seated prisoners with small girl. Upright medium folio, matted; margins intact; foxed. London, Spencer, 1953.

Standing figure of Howard Paul 'In the costume of a Zouave of the French Army'; signed 'Rich Childs Lith.' Standing figure of Howard Paul 'In the costume of a Zouave of the French Army'; signed 'Rich Childs Lith.' Military song sung by Mr. Howard Paul in his popular entertainment.

Double-page wood engraved plate from magazine by H. Harral after Durand; large assemblage of British and native troops, elephants etc. coming down mountainside from railroad stop; short text on verso. Double-page wood engraved plate from magazine by H. Harral after Durand; large assemblage of British and native troops, elephants etc. coming down mountainside from railroad stop; short text on verso. From Harper's Weekly, December 14, 1878, pages 992-993. Hanover, N.H., Book & Print Shop, 1954.

by J.T. Treakell. For piano. Price 2/- Color cover lithographic illustrated full-length portrait of Duke of Wellington.

19th of 28 watercolor copies by Lawson, after original uniform of uniform groups and figures, etc. (including 1 page description of 11 of the watercolors); chart of the regimental laces shown at actual size Small folio, unbound; in red cloth case, red leather label stamped gold; clean London, Lawson, 1953-1954