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  • Henry Holder M.A., Certificate of proficiency in medicine, 1698
  • King Richard III holds a bloody sword, the dead body of King Henry VI lies on the ground. Watercolour by Richard Dadd, 1853.
  • Henry Dundas, Viscount Melville (in Highland costume), bleeds Neptune while Alexander Trotter holds a bowl to catch the guineas which flow from the incision; representing Trotter's embezzlement of public funds and Melville 's alleged connivance. Coloured etching by I. Cruikshank, 1805.
  • Royal Northern Hospital, Holloway Road, London: a proposed tower for the St. David's wing, Manor Gardens. Process print after C. Holden, 1921.
  • The Belgrave Hospital for Children, Kennington Park Road: the street elevation from the west, with a plan inset below. Photolithograph by Sprague after C. Holden, 1903.
  • Asphodeline lutea Rchb. Yellow asphodel, King's spear, Hastula regia. Hardy rhizomatous perennial. Distribution Mediterranean and Caucasus. It is the flower of the dead, as Homer writes that it carpets an area in the gloomy darkness of the underworld (Hades), in Greek mythology where the souls of the dead are found. However this may be a misinterpretation of the Greek where 'Asphodel' has been read instead of 'ash-filled'. In the etymology of flower names, it is suggested that the yellow 'daffodil' is a corruption of French or Flemish 'de asphodel' (both ex Steve Reece, 2007). An Aristotelian epigram, refers to it growing on tombs: 'On my back I hold mallow and many-rooted asphodel ...' The asphodel was sacred to Persephone, goddess of the underworld, who was seized and wed by Hades, god of the underworld, and taken to his kingdom. Her disappearance brings the winter, and her reappearance each year, the spring. The only reliable source of information about its early medical uses is, probably, Dioscorides although the plant in his De Materia Medica may be A. ramosus or A. albus. He gives its properties as diuretic, induces menses, good for coughs and convulsions, an antidote to snake bite, applied as a poultice for sores of all sorts, and in compounds for eye, ear and tooth pains, and to cure alopecia and vitiligo, but induces diarrhoea and vomiting and is an anti-aphrodisiac. Fuchs (1542), as Ruel’s commentaries (1543) note, makes a big mistake as he has Lilium martagon as his concept of A. luteus. Ruel only illustrates its leaves and roots, calling it Hastula regia (Latin for King’s spear) but Matthiolus's Commentaries (1569 edition) has a reasonable woodcut also as Hastula regia (1569). Dodoen's Cruydeboeck (1556) does not mention or illustrate Asphodelus luteus. L'Escluse's French translation Histoire des Plantes (1557) follows the Cruydeboeck. Dodoen's Latin translation Stirpium Historia Pemptades Sex (1583) adds A. luteus with text and woodcut, with no uses. Henry Lyte's (1578) translation illustrates Asphodelus luteus as Asphodeli tertia species and 'Yellow affodyl' (vide etymology of 'daffodil') and also does not describe any uses for it. Gerard's translation The Herbal (1597 and 1633) continues the muddle and does not give any uses for this plant. Parkinson's comments (1640) on the lack of medicinal properties of asphodels, refer to quite different plants coming from wet areas in Lancashire, Scotland and Norway . He calls them pseudoasphodelus major and minor which he writes are called Asphodelus luteus palustris by Dodoens, and not 'King's Spear' which he illustrates with a good woodcut of A. luteus and calls it Asphodelus luteus minor. Once herbals started to be written in northern Europe, the knowledge of the arid loving, Asphodelus luteus of south east Europe was lost. Photographed in the Medicinal Garden of the Royal College of Physicians, London.
  • Joan of Arc conjures demons in Shakespeare's 'Henry VI'; but the demons are uncompliant; one hangs his head on the left. Engraving by C. Warren, 1805, after J. Thurston.
  • A fearful woman (Britannia) is encouraged by three British politicians to resist the invading fleet of France. Coloured etching by J. Gillray after J. Sneyd, 1803.
  • A fearful woman (Britannia) is encouraged by three British politicians to resist the invading fleet of France. Coloured etching by J. Gillray after J. Sneyd, 1803.
  • Sewing up of an eye cavity in a cadaver after removal of the eye for training of surgeons. Watercolour by Julia Midgley, 2013.
  • Sewing up of an eye cavity in a cadaver after removal of the eye for training of surgeons. Watercolour by Julia Midgley, 2013.
  • A lecture to medical staff in London in training for operations in Helmand Province, Afghanistan. Watercolour by Julia Midgley, 2013.
  • Prosthetic legs wearing a pair of trainers. Watercolour by Julia Midgley, 2012.
  • Medical staff in training in Yorkshire for operations in Helmand Province, Afghanistan. Watercolour by Julia Midgley, 2012.
  • Medical staff in training in Yorkshire for operations in Helmand Province, Afghanistan. Watercolour by Julia Midgley, 2012.
  • Prosthetic legs wearing a pair of trainers. Watercolour by Julia Midgley, 2012.
  • A lecture to medical staff in London in training for operations in Helmand Province, Afghanistan. Watercolour by Julia Midgley, 2013.
  • Albert, Prince Consort, on his deathbed at Windsor Castle, with members of the royal family and the royal household in attendance, 14 December 1861. Lithograph by W.L. Walton after Oakley, c.1865.
  • Albert, Prince Consort, on his deathbed at Windsor Castle, with members of the royal family and the royal household in attendance, 14 December 1861. Lithograph by W.L. Walton after Oakley, c.1865.
  • Albert, Prince Consort, on his deathbed at Windsor Castle, with members of the royal family and the royal household in attendance, 14 December 1861. Lithograph by W.L. Walton after Oakley, c.1865.
  • Britannia as a patient who is in danger of death owing to disagreement between her three doctors over their competing remedies; representing the weakness of Britain during the replacement of Addington by Pitt as Prime Minister and the exclusion of Fox. Coloured etching by J. Gillray, 1804.
  • Britannia as a patient who is in danger of death owing to disagreement between her three doctors over their competing remedies; representing the weakness of Britain during the replacement of Addington by Pitt as Prime Minister and the exclusion of Fox. Coloured etching by J. Gillray, 1804.
  • A prison chaplain (Henry Labouchère) is visiting the journalist Edmund Yates in prison. Colour lithograph by Judd & Co. after Tom Merry, 3 May 1884.
  • Analysis of beauty. Plate I.
  • Analysis of beauty. Plate I.
  • James Henry Lambier, "the American giant". Drawing.
  • George Grenville, Lord Bute and the Duke of Bedford dance on the tombstone of the Duke of Cumberland to the tune of the devil playing the bagpipes. Etching, 1765.
  • A triumphant American slave woman representing quassia (ingredient in acoholic drinks) is carried aloft by two brewers; representing the outcry against a tax on private brewing (?). Etching by J. Gillray, 1806.
  • Robert Walpole, Earl of Orford, with a whip in one hand and a letter in the other, mounted on an ass with a human head. Etching with engraving, 1745.
  • The emblematic figure of a man representing secularisation, technical innovation, educational reforms and liberal politics in the United Kingdom. Lithograph, ca. 1830.