Hand-colored engraving, published Aug. 1, 1846; view of parade ground and chapel building with small figures of soldiers parading, group of spectators in right foreground. Hand-colored engraving, published Aug. 1, 1846; view of parade ground and chapel building with small figures of soldiers parading, group of spectators in right foreground. Oblong; margins intact; clean, torn at left.

Subject: Oval bust portrait of Wolseley in uniform; 'Alfred Concanen Lith' Subject: Oval bust portrait of Wolseley in uniform; 'Alfred Concanen Lith' Title continues: By Alfred Tolkien. Price 4/-

Subject: oval bust portrait of 'H.R.H. The Duke of Connaught' in uniform. 'By permission of William Luks, from a photograph by Reichard & Lindner, Berlin' Subject: oval bust portrait of 'H.R.H. The Duke of Connaught' in uniform. 'By permission of William Luks, from a photograph by Reichard & Lindner, Berlin' Title continues: Composed by Charles Godfrey. B.M. Royal Horse Guards.

Napoleon and Marie-Louise sit side by side on an elaborate throne that is elevated by a dais. On their right, a grotesque nursemaid, Mme. de Montesquiou, holds up the infant King of Rome so that he might better view the comet in whose light he basks. Emperor and empress both follow their son's gaze at the comet in the sky. Napoleon even uses a huge telescope for his viewing. The comet is a medallion featuring the Young King, who, except for a plumed bicorne hat, is nude. In his outstretched arms he carries a bowl, while the Gallic cock perches in the small of his back. In flight, the apparition propels himself through the atmosphere by a gaseous tail he expels from his bare bottom. This tail, rendered here as rays of light, radiates down on the young King in his nurse's arms. Leaning back in his seat to better view the comet, Napoleon casually drapes his right leg over Marie-Louise's left thigh. This gesture of sexual appropriation is matched by the empress whose left hand--although extended in amazement--hovers over Napoleon's lap. Whereas the empress is elegantly dressed, her buxom form and nonchalance suggest humble beginnings. Likewise, Napoleon's Hessian boots and easy manner indicate his obscure origins. Following the comet predicted in their astronomical charts, four foppish French men have arrived to pay their obeisance to the new heir. Yet instead of honoring the child, they focus their lecherous attention on the extended slipper of Marie-Louise. A travesty of the Adoration of the Magi, this satire heralds the unfortunate event brought by a comet--a portent of evil. Napoleon and Marie-Louise sit side by side on an elaborate throne that is elevated by a dais. On their right, a grotesque nursemaid, Mme. de Montesquiou, holds up the infant King of Rome so that he might better view the comet in whose light he basks. Emperor and empress both follow their son's gaze at the comet in the sky. Napoleon even uses a huge telescope for his viewing. The comet is a medallion featuring the Young King, who, except for a plumed bicorne hat, is nude. In his outstretched arms he carries a bowl, while the Gallic cock perches in the small of his back. In flight, the apparition propels himself through the atmosphere by a gaseous tail he expels from his bare bottom. This tail, rendered here as rays of light, radiates down on the young King in his nurse's arms. Leaning back in his seat to better view the comet, Napoleon casually drapes his right leg over Marie-Louise's left thigh. This gesture of sexual appropriation is matched by the empress whose left hand--although extended in amazement--hovers over Napoleon's lap. Whereas the empress is elegantly dressed, her buxom form and nonchalance suggest humble beginnings. Likewise, Napoleon's Hessian boots and easy manner indicate his obscure origins. Following the comet predicted in their astronomical charts, four foppish French men have arrived to pay their obeisance to the new heir. Yet instead of honoring the child, they focus their lecherous attention on the extended slipper of Marie-Louise. A travesty of the Adoration of the Magi, this satire heralds the unfortunate event brought by a comet--a portent of evil. Published by Thomas Tegg, 111 Cheapside, Sept. 24, 1811. Caption: Pubd Sept 24 1811 by Thos Tegg 111 Cheapside Inscription: Price one Shilling Coloured Printed Signature: Elmes scul. Plate Mark: 92

Hand-colored etched caricature (after Cruikshank), published Octr. 7, 1798; Nelson, in uniform, leading 2 crocodiles with human faces towards left (Charles James Fox and Richard Brinsley Sheridan), John Bull cheering at right. Hand-colored etched caricature (after Cruikshank), published Octr. 7, 1798; Nelson, in uniform, leading 2 crocodiles with human faces towards left (Charles James Fox and Richard Brinsley Sheridan), John Bull cheering at right. Oblong folio, matted; margins trimmed close; creased, edges worn. London, Parker Gallery, 1953.

Subject: highlanders repelling Russian cavalry, distant view of the port of Balaklava; Augs. Butler, delt. & lith., Stannard & Dixon, Imp. Subject: highlanders repelling Russian cavalry, distant view of the port of Balaklava; Augs. Butler, delt. & lith., Stannard & Dixon, Imp. Title continues: Bala clava quadrille, by Bushez. Pr. 3/-

Subject: three British uniform figures including Gordon Highlander in campaign dress. Subject: three British uniform figures including Gordon Highlander in campaign dress. Title continues: Written by Albert Hall ; composed by Orlando Powell ; sung by Walter Munroe. Price 4/- Chorus. Whilst there's heather on your mountain, Sandy man,...that ridge of death-Dargai.

Original charcoal drawing initialed by Jacomb-Hood; 2 officers in field uniform leaning and sitting on rooftop parapet, one with binoculars, the other pointing. Original charcoal drawing initialed by Jacomb-Hood; 2 officers in field uniform leaning and sitting on rooftop parapet, one with binoculars, the other pointing. Reproduced in The Graphic, January 13, 1900, page 33 (cover). N.Y., Rockman Prints, 1951.

Color lithograph by Currier; cavalry combat. Color lithograph by Currier; cavalry combat. Small oblong folio, matted; margins; slightly yellowed. In large blue folio title 'Mexican War Scenes.' N.Y., Old Print Shop, 1955.

Copper engraving by Pollard after Hamilton; Manners, wounded, being picked up by sailors on deck, 2 allegorical figures in border at top, arms and trophies at bottom. Copper engraving by Pollard after Hamilton; Manners, wounded, being picked up by sailors on deck, 2 allegorical figures in border at top, arms and trophies at bottom. For Barnard's New Complete & Authentic History of England. N.Y., Argosy, 1955.

words by Ed. Harrigan ; music by Dave Braham. For voice and piano. Caption title. First line of text: We are privates in the sixty-ninth. First line of chorus: We march behind the band, true sons of Paddy's land. "Respectfully dedicated to Col. Cavanah, and the officers and members of the 69th Regt. N.G.S.N.Y."--Cover. "Harrigan and Hart's new song and chorus, The gallant sixty-ninth, sung by Tony Hart and cadet corps"--Cover. Lithographic cover woodprint by R. Teller depicting the Sixty-ninth regiment standing in rows with the New York Harbor, fortifications and ships behind them.

Humorous image of soldier looking at his Private First Class stripe on jacket sleeve in mirror. Done in colored pencil. Humorous image of soldier looking at his Private First Class stripe on jacket sleeve in mirror. Done in colored pencil. Arnett served with the 603rd Engineer Camouflage Battalion. After training in camouflage deception at Fort Meade in 1943, he became part of a special secret unit, the 23rd Headquarters Special Troops (the so-called 'Ghost Army') in January 1944. He served in Belgium, France, Holland, Luxembourg and Germany. Encouraged by his officers, he did numerous cartoons to improve the morale of his fellow soldiers. Arnett served with the 603rd Engineer Camouflage Battalion

2nd in pair of original watercolors on gray board signed by Snaffles (pseudonym of Charles Payne); standing uniform figure of officer, facing left, in pith helmet, holding upright sword. 2nd in pair of original watercolors on gray board signed by Snaffles (pseudonym of Charles Payne); standing uniform figure of officer, facing left, in pith helmet, holding upright sword. Small upright folio; margins intact; clean. London, Parker Gallery, 1952.

1st in pair of original watercolors on gray board signed by Snaffles (pseudonym of Charles Payne); standing uniform figure in profile, facing right, with tall busby and sword. 1st in pair of original watercolors on gray board signed by Snaffles (pseudonym of Charles Payne); standing uniform figure in profile, facing right, with tall busby and sword. Small upright folio; margins intact; clean. London, Parker Gallery, 1952.

Colored aquatint by Allen & Sutherland "Drawn on the Spot by Capt. Marryat, R.N.", published July 25, 1821; perspective view of funeral procession, showing troops drawn up, landscape background. Colored aquatint by Allen & Sutherland "Drawn on the Spot by Capt. Marryat, R.N.", published July 25, 1821; perspective view of funeral procession, showing troops drawn up, landscape background. Narrow oblong folio, matted; margins intact; creased. New York, Rockman Prints, 1951.

Hand-colored engraving from a drawing 'taken on the Spot by a Gentleman'; view of procession winding along road from house to grave-site, military guard drawn up in background. Hand-colored engraving from a drawing 'taken on the Spot by a Gentleman'; view of procession winding along road from house to grave-site, military guard drawn up in background. Oblong, mounted on folio cream paper; margins trimmed; slightly worn. New York, Henry L. Bokelman, 1948.

Wood-engraved double-page plate after Charles Graham, W.P. Snyder, John Durkin; central illustration of church service and 4 smaller illustration of funeral scenes. Wood-engraved double-page plate after Charles Graham, W.P. Snyder, John Durkin; central illustration of church service and 4 smaller illustration of funeral scenes. Supplement to Harper's Weekly, February 20, 1886 Hanover, N.H., Book & Print Shop, 1956.

Color lithograph by and after Burgess; military funeral procession, showing gun carriage covered by flag proceeding down slope lined with soldiers; men, women and children watching in right foreground, fort, ocean and ships in background. Color lithograph by and after Burgess; military funeral procession, showing gun carriage covered by flag proceeding down slope lined with soldiers; men, women and children watching in right foreground, fort, ocean and ships in background. This lithograph which was a best seller, depicts the military cortege of Sergeant Monger from South Front Military Hospital, Western Heights. It was dedicated to the officers and men of the Cinque Ports and other Volunteer Corps along with the Royal Artillery, the Royal Engineers, the 60th Rifles, and the 87th Regiment, all of whom assisted at the procession. https://doverhistorian.com/2013/07/05/william-burgess-artist/ London, Parker Gallery, 1965.

Color lithograph by and after Walker, printed by Day & Son; view in square before St. Paul's showing massed troops, and arrival of funeral car at left. Color lithograph by and after Walker, printed by Day & Son; view in square before St. Paul's showing massed troops, and arrival of funeral car at left. Small oblong folio, matted; margins intact; yellowed. London, Spencer, 1953.

Hand-colored etched caricature after Cruikshank. 'Five British sailors make a furious attack on six French soldiers, grotesque and terrified creatures, whom the sailors humiliate and insult. Their officer (left), who holds a British flag, is threatened by a sailor with clenched fists, and excretes, terrified. A sailor with a scourge slashes the bared posteriors of a Frenchman who grovels on the ground, saying, "oh le pauvre Commandant"; he says, "Now foutre you'l take 2 Merchants Ships for a fleet of Men of War again". A Frenchman, nearly throttled by an angry sailor, cries "Ca-ira Ca-ira". A sailor pulls the queue of the drummer, to whom he offers a piece of tobacco, saying, "here you B--g--r heres a stale Quid for you Instead of Hartshorn". A sailor on the extreme right pulls the queue of a Frenchman and raises his club to strike; the latter says, "oh Diable we was Make de Dam Mistake Parblue". The sailor answers, "aye aye D------n Your Eyes Ill make you Blue and Black too". In the background (left) are buildings inscribed 'Nantes' -- British Museum Hand-colored etched caricature after Cruikshank. 'Five British sailors make a furious attack on six French soldiers, grotesque and terrified creatures, whom the sailors humiliate and insult. Their officer (left), who holds a British flag, is threatened by a sailor with clenched fists, and excretes, terrified. A sailor with a scourge slashes the bared posteriors of a Frenchman who grovels on the ground, saying, "oh le pauvre Commandant"; he says, "Now foutre you'l take 2 Merchants Ships for a fleet of Men of War again". A Frenchman, nearly throttled by an angry sailor, cries "Ca-ira Ca-ira". A sailor pulls the queue of the drummer, to whom he offers a piece of tobacco, saying, "here you B--g--r heres a stale Quid for you Instead of Hartshorn". A sailor on the extreme right pulls the queue of a Frenchman and raises his club to strike; the latter says, "oh Diable we was Make de Dam Mistake Parblue". The sailor answers, "aye aye D------n Your Eyes Ill make you Blue and Black too". In the background (left) are buildings inscribed 'Nantes' -- British Museum Oblong medium folio, print, matted; plate mark, margins trimmed; clean. London, Maggs, 1953. Caption: Lond Pub July 15 1791 by S Fores No 3 Piccadilly

Hand-colored etched caricature by and after Maguire; parade of comic and motley volunteer soldiers led by fat officer with standard. Hand-colored etched caricature by and after Maguire; parade of comic and motley volunteer soldiers led by fat officer with standard. Oblong medium folio, matted; margins trimmed close; lower right corner torn, stained. London, Maggs, 1953.

Hussar of Waterloo period charging; signed W. George. Hussar of Waterloo period charging; signed W. George. Words by Clifton Bingham. Music by Gordon Temple.

Subject: Hussar of Waterloo period charging; signed W. George. Subject: Hussar of Waterloo period charging; signed W. George. Title continues: Song. Words by Clifton Bingham. Music by Gordon Temple.

Watercolor signed and dated 1871, showing Napoleon III talking to woman in traditional costume; inscribed references to the Battle of Sedan Watercolor signed and dated 1871, showing Napoleon III talking to woman in traditional costume; inscribed references to the Battle of Sedan Signed with initials R.C. and dated September 2, 1871

British Museum Catalogue: "Bonaparte (left) a grotesque figure with a large head, bestrides the neck of a scaly monster which breathes out soldiers (horse and foot), guns, and demons in a cloud of smoke. The Archduke Charles and the Duke of York (scarcely caricatured) run terrified from the advancing cloud, which almost reaches the former's heel. In the background panic-stricken Austrian troops are in flight. On the extreme left, the Pope lies prostrate under the monster's body, his key and crozier beside him.... From the upper right corner of the design the head of Fox, winged, but with sprouting horns, looks down smiling at the two princes...." British Museum Catalogue: "Bonaparte (left) a grotesque figure with a large head, bestrides the neck of a scaly monster which breathes out soldiers (horse and foot), guns, and demons in a cloud of smoke. The Archduke Charles and the Duke of York (scarcely caricatured) run terrified from the advancing cloud, which almost reaches the former's heel. In the background panic-stricken Austrian troops are in flight. On the extreme left, the Pope lies prostrate under the monster's body, his key and crozier beside him.... From the upper right corner of the design the head of Fox, winged, but with sprouting horns, looks down smiling at the two princes...." Published by S W Fores No 50 Piccadilly April 13 1797 Folios of Caracatures Lent British Museum Catalogue: "These commanders, the Duke of York and Mack excepted, were defeated by Bonaparte (and Kellerman) in the Italian campaign of 1796-97. The Archduke Charles was in command of the Austrian army, having been withdrawn from the victorious army of the Rhine (where he was succeeded by Mack) to succeed Alvintzy, defeated at Rivoli (14 January 1797). Würmser surrendered Mantua to the French (2 February). Davidovitch, who had been bringing reinforcements to the Austrians before Arcola (15-17 November 1796), was forced to retreat into Tyrol. The imperialists were driven from Italy in March, the Archduke retreating towards Vienna, followed by Bonaparte; on 7-8 April he agreed to an armistice. Preliminaries of peace were signed at Leoben on 18 April." Caption: London Published by S W Fores No 50 Piccadilly April 14 1797 Caption: Folios of Caracatures Lent Date: The Pope: Oh Lord, this Rebel son of mine pays me no homage whathever Napoleon: Egad they run well courez donc Messrs Les Princes!!! Members of Bonaparte's army: push on; keep moving; Wont you stop and take your change; vive la libertee Fox: Run Frederick, run Charles. Mack. Wurmser, Kell. well done D'Alvinzi now Davidovich. 'Frederick': I wish I was at York come on Charles follow me.

One of a collection of 3 poem broadsides, each with hand colored engraved illustrations of soldier group or scene by and after Gardiner, this one published August 10, 1803; Britannia and lion atop a fortification from which a cannon barrel protrudes; civilians and soldiers cheering with swords held high, woman holding child seated, another child dancing. One of a collection of 3 poem broadsides, each with hand colored engraved illustrations of soldier group or scene by and after Gardiner, this one published August 10, 1803; Britannia and lion atop a fortification from which a cannon barrel protrudes; civilians and soldiers cheering with swords held high, woman holding child seated, another child dancing. Upright medium folio, matted; plate marks, margins intact; soiled and edges torn. N.Y., Rockman Prints, 1949.

British Museum catalogue: A satire on Joseph's retreat from Madrid and the battle of Vimiero. British Museum catalogue: A satire on Joseph's retreat from Madrid and the battle of Vimiero. Published September 15, 1808 by R. Ackermann, No. 101, Strand [London] Dialogue: Corsican Fox [Napoleon]: Believe me my dear Doodle-doo -- you would not like them -- I found them so sour that I absolutely could not touch them. Gallic Cock: But my good Friend you promised to bring me home some Spanish Grapes, and Portugal Plums, where are they

Original sepia photograph; group portrait of standing and seated officers in undress uniform near porch of building. Sitters identified below in ink manuscript captions Original sepia photograph; group portrait of standing and seated officers in undress uniform near porch of building. Sitters identified below in ink manuscript captions Small oblong folio; mounted on white boards; margins; soiled, mount foxed. New York, Rockman Prints, 1957.

One of a pair of hand-colored aquatints; view of sham fortress, fireworks stands etc. being arranged by soldiers in park, balloon rising in background. See also View in Hyde Park with the fleet at anchor, on the Serpentine River. One of a pair of hand-colored aquatints; view of sham fortress, fireworks stands etc. being arranged by soldiers in park, balloon rising in background. See also View in Hyde Park with the fleet at anchor, on the Serpentine River. Oblong medium folio, matted; margins severely trimmed; clean. N.Y., Rockman Prints, 1948.

Signed watercolor; Afghans on the north wall of a fort, others entering through a gate with a camel. From an album compiled by Simpson entitled 'Original sketches made in Afghanistan during the campaign of 1878-79 with the Peshawer Field Force'. Published in the Illustrated London News, January 18, 1879 Signed watercolor; Afghans on the north wall of a fort, others entering through a gate with a camel. From an album compiled by Simpson entitled 'Original sketches made in Afghanistan during the campaign of 1878-79 with the Peshawer Field Force'. Published in the Illustrated London News, January 18, 1879 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/)