Colored lithographic caricature by Ducôté published November 26, 1832. 'John Bull, wearing French military uniform, reluctantly confronts the King of Holland, who resolutely bestrides, Colossus-like, the citadel of 'Antwerp' (left). J. B. is pushed forward by the duc d'Orléans (1810-42), an effeminate youth in elaborate hussar uniform with an enormous busby decorated with cockade, eagle, tassells, and the letters 'L P'. The young man looks over his shoulder to King Leopold (right) who propels him forward with a broom whose handle is topped by a miniature head of Brougham, while Grey's profile is enclosed in the broom-head. William I, wearing a crown, with bulky breeches and jack-boots, and smoking a very long pipe, puts his hand on the hilt of his sword; he says: 'Why Mynheer Bull! you and I used to be excellent friends related in language, pursuits & religion! what queer sort of disguise is this I see you in trimmed out in a Frenchmans Jacket! I pity you my old friends but if you set one foot on my grounds it isn't pity shall stop me from knocking your revolutionary cockade down your Throat'. J. B. holds a sword which he seems about to drop, and leans back, turning his eyes to those who shove him forward. His huge cocked hat with tricolour cockade insecurely poised, tilts over one eye, and his coat is that of the Chasseurs de la Garde, familiar from portraits of Napoleon. He says: 'I tell you I've no stomach for this fight, what good will it do me? Why should I quarrell with my old friends to please my old Enemies? Back out as I will I fear that old Grey Broom will do me'. Louis Philippe's eldest son says to King Leopold: 'Poussez votre Majestie! this fellow be so weighed down by his debt, dat I cannot make him stir. Pousse Brother my August Father will pay for the use of your Broom- and take all de trouble off your hands by & by'. Leopold wears an ill-adjusted crown and uniform with orders, gauntlets, and cavalry boots, but is without a sword; he answers: 'Vivent les braves Belges Vive Grey Vive Louis'. In the background little soldiers run forward towards the 'Scheldt', where they embark in boats. A leading gun-boat, nearing the Dutch shore (left), flies a tricolour flag above the Union Jack. On a hill on the extreme left, behind William I, the Russian bear stands on its hind legs, shouting 'Fair Play there!' -- British Museum. Colored lithographic caricature by Ducôté published November 26, 1832. 'John Bull, wearing French military uniform, reluctantly confronts the King of Holland, who resolutely bestrides, Colossus-like, the citadel of 'Antwerp' (left). J. B. is pushed forward by the duc d'Orléans (1810-42), an effeminate youth in elaborate hussar uniform with an enormous busby decorated with cockade, eagle, tassells, and the letters 'L P'. The young man looks over his shoulder to King Leopold (right) who propels him forward with a broom whose handle is topped by a miniature head of Brougham, while Grey's profile is enclosed in the broom-head. William I, wearing a crown, with bulky breeches and jack-boots, and smoking a very long pipe, puts his hand on the hilt of his sword; he says: 'Why Mynheer Bull! you and I used to be excellent friends related in language, pursuits & religion! what queer sort of disguise is this I see you in trimmed out in a Frenchmans Jacket! I pity you my old friends but if you set one foot on my grounds it isn't pity shall stop me from knocking your revolutionary cockade down your Throat'. J. B. holds a sword which he seems about to drop, and leans back, turning his eyes to those who shove him forward. His huge cocked hat with tricolour cockade insecurely poised, tilts over one eye, and his coat is that of the Chasseurs de la Garde, familiar from portraits of Napoleon. He says: 'I tell you I've no stomach for this fight, what good will it do me? Why should I quarrell with my old friends to please my old Enemies? Back out as I will I fear that old Grey Broom will do me'. Louis Philippe's eldest son says to King Leopold: 'Poussez votre Majestie! this fellow be so weighed down by his debt, dat I cannot make him stir. Pousse Brother my August Father will pay for the use of your Broom- and take all de trouble off your hands by & by'. Leopold wears an ill-adjusted crown and uniform with orders, gauntlets, and cavalry boots, but is without a sword; he answers: 'Vivent les braves Belges Vive Grey Vive Louis'. In the background little soldiers run forward towards the 'Scheldt', where they embark in boats. A leading gun-boat, nearing the Dutch shore (left), flies a tricolour flag above the Union Jack. On a hill on the extreme left, behind William I, the Russian bear stands on its hind legs, shouting 'Fair Play there!' -- British Museum. Oblong folio; margins trimmed; somewhat soiled. N.Y., Rockman Prints, 1960.

Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; 2 infantrymen with shouldered rifles standing at attention by sentry box at right, corporal or sergeant reading from tablet at left; note on verso : "No. 92 - 7th set". Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; 2 infantrymen with shouldered rifles standing at attention by sentry box at right, corporal or sergeant reading from tablet at left; note on verso : "No. 92 - 7th set". Upright folio on board, unbound, in red portfolio stamped gold, "Original oil paintings for British regimental prints c. 1900-1910".

Part of collection of original watercolors on board, signed by Ibbetson, for Gale & Polden postcards; four soldiers in green campaign uniform, firing machine gun over ridge toward right. Part of collection of original watercolors on board, signed by Ibbetson, for Gale & Polden postcards; four soldiers in green campaign uniform, firing machine gun over ridge toward right. In red portfolio, red label stamped gold, "E. Ibbetson, Original watercolors for British regimental prints, c.1900-1910".

10th 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); standing uniform figure in red jacket, holding grounded rifle, trees in background; pencil note at bottom : "68th". 10th 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); standing uniform figure in red jacket, holding grounded rifle, trees in background; pencil note at bottom : "68th". Oblong and upright, 61 pieces; a few soiled; in folio red cloth case, red leather label stamped gold. London, Francis Edwards, 1966.

Unsigned print by McNeill; standing infantryman in red jacket, helmet, with grounded rifle, outdoors. Unsigned print by McNeill; standing infantryman in red jacket, helmet, with grounded rifle, outdoors. Upright; no margins; stained.

Napoleon, the "dunghill Cock," and Marie-Louise, the "Game Pullet," are at leisure in a large park. The dialogue between the two is full of double entendre. The empress' encouragement for Napoleon to "Batter away" and "pour in another round or two" responds to Napoleon's lament that he has "discharged my artillery to no purpose." While the dialogue appears to be about Napoleon's military campaigns, it more accurately relates to the couple's own private campaign to produce heirs to the throne. In this image, the empress is reclining in an elaborate swing tethered between two columns. The swing is an ornate affair decorated on the outside with gilded carvings of grotesque figures and with the inscription, "Nationale Cradle." Marie-Louise relaxes against the red cushions and a blue blanket set on top of the "cradle." Her hair has come loose from the momentum of the swing, her dress flies up indecorously revealing her ankles and calves, and her bodice is cut dangerously low. In attitude and in dress she exhibits wanton behavior. Her licentiousness is indicated by the classical sculpture group at the far left of the image, inscribed "Stolen Images" on the pedestal. The sculpture depicts a nude male figure approaching a nude female. A mangy dog walks under the swing. An inscription on his back indicates he is "Brought from Egypt." The dog stalks towards Napoleon with his tail tucked between his legs. The collar he wears is inscribed "A Sneaking Cur" and further indicates his connection to Napoleon. Furthermore, the dog also has two papers tied to its body: a sheet inscribed "Marie Louisa's Delight" is tied to its hindquarters, and another sheet labeled "One of Bony's Pack" hangs from the collar. Napoleon stands at the right of the image. His back is turned toward the empress and it seems that he is battered in the rear by the moving swing. He is bent over at the waist and clutches his back with his right hand while leaning heavily on his left hand, which is propped against his thigh. An officer watches from the far right of the sheet. It is not clear whether he raises his eyeglass to spy on the imperial couple, or whether he is admiring the sculpture--or both. Napoleon, the "dunghill Cock," and Marie-Louise, the "Game Pullet," are at leisure in a large park. The dialogue between the two is full of double entendre. The empress' encouragement for Napoleon to "Batter away" and "pour in another round or two" responds to Napoleon's lament that he has "discharged my artillery to no purpose." While the dialogue appears to be about Napoleon's military campaigns, it more accurately relates to the couple's own private campaign to produce heirs to the throne. In this image, the empress is reclining in an elaborate swing tethered between two columns. The swing is an ornate affair decorated on the outside with gilded carvings of grotesque figures and with the inscription, "Nationale Cradle." Marie-Louise relaxes against the red cushions and a blue blanket set on top of the "cradle." Her hair has come loose from the momentum of the swing, her dress flies up indecorously revealing her ankles and calves, and her bodice is cut dangerously low. In attitude and in dress she exhibits wanton behavior. Her licentiousness is indicated by the classical sculpture group at the far left of the image, inscribed "Stolen Images" on the pedestal. The sculpture depicts a nude male figure approaching a nude female. A mangy dog walks under the swing. An inscription on his back indicates he is "Brought from Egypt." The dog stalks towards Napoleon with his tail tucked between his legs. The collar he wears is inscribed "A Sneaking Cur" and further indicates his connection to Napoleon. Furthermore, the dog also has two papers tied to its body: a sheet inscribed "Marie Louisa's Delight" is tied to its hindquarters, and another sheet labeled "One of Bony's Pack" hangs from the collar. Napoleon stands at the right of the image. His back is turned toward the empress and it seems that he is battered in the rear by the moving swing. He is bent over at the waist and clutches his back with his right hand while leaning heavily on his left hand, which is propped against his thigh. An officer watches from the far right of the sheet. It is not clear whether he raises his eyeglass to spy on the imperial couple, or whether he is admiring the sculpture--or both. This image is not signed by the artist. Dialogue: Marie-Louise: "Batter away my little Boney, pour in another round or two before you look for a Flag of Truce." Napoleon: "Marblue, I have discharged my whole Artillery to no purpose. I must give orders to my Aide de Camp to renew the attack and to instruct how to Mannoeuvre from a distant hill." Inscription: Price One Shilling Coloured. Inscription: Pubd. April 27th 1810 by Thos. Tegg No. 111 Cheapside. Inscription: Tegg's Caricatures No. 9.

One of collection of original watercolors signed by Simkin; mounted uniform figure on brown horse, facing left, outdoors. One of collection of original watercolors signed by Simkin; mounted uniform figure on brown horse, facing left, outdoors. Upright, matted; margins; soiled. London, Parker Gallery, 1965. Title supplied by cataloger

One of collection of original watercolors signed by Simkin; mounted uniform figure on brown horse with leopardskin saddle, facing left, outdoors. One of collection of original watercolors signed by Simkin; mounted uniform figure on brown horse with leopardskin saddle, facing left, outdoors. Upright small folio, matted; margins; soiled, some staining. London, Parker Gallery, 1965. Title supplied by cataloger

Color mezzotint by Dickinson after Hoppner; full-length portrait in uniform, outdoors; aide gripping reins of rearing horse in left background. Color mezzotint by Dickinson after Hoppner; full-length portrait in uniform, outdoors; aide gripping reins of rearing horse in left background. Large upright folio, matted; margins trimmed; margins worn.

Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; officer in blue coat inspecting rifle held by infantryman. Part of collection of 66 original signed oil paintings on fiber-board by Harry Payne for Gale & Polden postcards; officer in blue coat inspecting rifle held by infantryman. Folio, unbound; some edges etc. soiled and worn, but images in good condition; in 2 red cloth cases, red leather label stamped gold. London, Francis Edwards, 1966.

composed by Augustus Voigt. For piano. Caption title. Lithographic cover illustration by J. Graf: Duke of Wellington mounted in uniform, Apsley House in background.

Original watercolor signed by Simkin of a standing uniform figure facing left. Original watercolor signed by Simkin of a standing uniform figure facing left. Upright folio; matted; surface dirt. Title supplied by cataloger. London, Parker Gallery.

Original watercolor signed by Simkin of a standing uniform figure facing right. Original watercolor signed by Simkin of a standing uniform figure facing right. Upright folio; matted; surface dirt. Title supplied by cataloger. London, Parker Gallery.

4th 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); standing uniform figure in red jacket, black helmet, with rifle, holding white signal flag, facing left; insignia in upper left; pencil note on verso : "Private. 33rd. Signaller". 4th 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); standing uniform figure in red jacket, black helmet, with rifle, holding white signal flag, facing left; insignia in upper left; pencil note on verso : "Private. 33rd. Signaller". Oblong and upright, 61 pieces; a few soiled; in folio red cloth case, red leather label stamped gold. London, Francis Edwards, 1966.

Colored printed (chromolithograph?) card, from original watercolor signed by McNeill; standing uniform figure of infantryman in red jacket, helmet, holding signal flag, facing left; insignia in upper left corner. Colored printed (chromolithograph?) card, from original watercolor signed by McNeill; standing uniform figure of infantryman in red jacket, helmet, holding signal flag, facing left; insignia in upper left corner. Upright; no margins; stained.

Hand-colored engraving proof by William Bromley after Lawrence, published June 18, 1818; full-length portrait in uniform, holding up Sword of England, standing on portico, St. Paul's Cathedral in background. Hand-colored engraving proof by William Bromley after Lawrence, published June 18, 1818; full-length portrait in uniform, holding up Sword of England, standing on portico, St. Paul's Cathedral in background. Large upright folio, matted; margins. London, Parker Gallery, 1952.

Original watercolor signed by Heath; equestrian portrait of Wellington, pointing baton, facing left; battle in background. Original watercolor signed by Heath; equestrian portrait of Wellington, pointing baton, facing left; battle in background. Old Lyme, CT, Christopher Bryant, 2010

Watercolor signed and dated May 18th 1820 by Addy (copied from Nicholson - History of the Wars..., London, 1816); equestrian portrait, riding toward left, sword in outstretched hand. Watercolor signed and dated May 18th 1820 by Addy (copied from Nicholson - History of the Wars..., London, 1816); equestrian portrait, riding toward left, sword in outstretched hand. Small oblong folio, matted; margins intact; clean.

Stipple-engraving (by and?) after Roberts, published February 7, 1820; bust portrait in uniform of R.C. Archers(?). Stipple-engraving (by and?) after Roberts, published February 7, 1820; bust portrait in uniform of R.C. Archers(?). Upright, matted; margins; clean. Bournemouth, Mathews, 1954.

Original unsigned pencil sketch (by Edridge), very faint in execution; full-length standing figure in Highland uniform. Original unsigned pencil sketch (by Edridge), very faint in execution; full-length standing figure in Highland uniform. Narrow medium upright folio, matted; no margins. N.Y., Rockman Prints, 1961. Title supplied by cataloger

One of collection of original watercolors signed by Simkin; mounted uniform figure, holding saber at shoulder, on brown horse facing right, outdoors. One of collection of original watercolors signed by Simkin; mounted uniform figure, holding saber at shoulder, on brown horse facing right, outdoors. Upright, matted; margins; soiled. London, Parker Gallery, 1961. Title supplied by cataloger

Aquatint; 3 half-length portrait figures, the Duke of Kent in uniform. Aquatint; 3 half-length portrait figures, the Duke of Kent in uniform. Small oblong folio, matted; plate mark, margins trimmed; slightly soiled. Bournemouth, Mathews, 1954.

Stipple-engraving (by Piercy Roberts? after Sir William Beechey), published February 7, 1820; bust portrait in general's uniform, hatless. Stipple-engraving (by Piercy Roberts? after Sir William Beechey), published February 7, 1820; bust portrait in general's uniform, hatless. Upright, matted; margins; clean. Bournemouth, Mathews, 1954.

30th 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); standing officer saluting mounted officer in blue uniform; infantryman with rifle standing at attention in right foreground. 30th 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); standing officer saluting mounted officer in blue uniform; infantryman with rifle standing at attention in right foreground. 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; infantry officer saluting mounted officer in dark gray uniform; infantryman standing at attention in right foreground. Title on verso. Unsigned original watercolor by McNeill; infantry officer saluting mounted officer in dark gray uniform; infantryman standing at attention in right foreground. Title on verso. Upright; no margins; stained.

Subject: Bust portrait of the Duke of Edinburgh in uniform; 'M. Watson Lith', 'Stannard & Son, Impt.' Subject: Bust portrait of the Duke of Edinburgh in uniform; 'M. Watson Lith', 'Stannard & Son, Impt.' Title continues: March by Edmond Reyloff. Price 3/-

Original wash drawing signed by Soper; Scots Guards band marching and playing before spectators in street, buildings and Hyde Park Corner screen in background. Original wash drawing signed by Soper; Scots Guards band marching and playing before spectators in street, buildings and Hyde Park Corner screen in background. For The Graphic, 1901 London, Ifan Kyrle Fletcher, 1953

Broadside regimental history with 4 chromolithograph illustrations of uniforms of 1743, 1777, 1813-15, 1885 and 2 chromolithograph illustrations of cap badge and collar badge. Broadside regimental history with 4 chromolithograph illustrations of uniforms of 1743, 1777, 1813-15, 1885 and 2 chromolithograph illustrations of cap badge and collar badge. Large upright folio, matted; margins; clean. London, Parker Gallery, 1961.

48th 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); 3 infantrymen in red jackets, black helmets, standing and seated on rocky outcrop; note on verso: "32nd". 48th 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); 3 infantrymen in red jackets, black helmets, standing and seated on rocky outcrop; note on verso: "32nd". 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 for Gale & Polden postcard series; 3 infantrymen in red jackets, standing and seated on rocky ridge. Title on verso. Unsigned original watercolor by McNeill for Gale & Polden postcard series; 3 infantrymen in red jackets, standing and seated on rocky ridge. Title on verso. Upright; no margins; stained.