Prints, Drawings and Watercolors from the Anne S.K. Brown Military Collection
This vast digital collection of military artwork from the 16th through 20th centuries, vividly documents all aspects of military and naval history, with emphasis on the history and illustration of world military and naval uniforms from the 17th century to the present. In addition to the material on military and naval dress, the collection contains thousands of battle and campaign scenes, portraits, caricatures, wartime posters, original photographs, material pertaining to military decorations and insignia, heraldic ornaments, armor, weaponry, equitation, flags, knightly orders, court and ceremonial dress, architecture, and the general history of costume.
2nd in collection of 6 engraved plates, mainly after Erik Dahlbergh; troops and officers gathered around royal tent in right foreground, battle on plain in distant background. Depicts Prince George Rakoczy, Prince of Transylvania being greeted by Karl X Gustav in the Swedish camp 2nd in collection of 6 engraved plates, mainly after Erik Dahlbergh; troops and officers gathered around royal tent in right foreground, battle on plain in distant background. Depicts Prince George Rakoczy, Prince of Transylvania being greeted by Karl X Gustav in the Swedish camp Matted; some margins severely trimmed; some soiled, worn. London, Spencer, 1953. title provided by cataloger
One of a collection of plates of European and Asiatic armies by Rahl after Kobell, this one of French cavalry on a hillside overlooking a massive review of troops. One of a collection of plates of European and Asiatic armies by Rahl after Kobell, this one of French cavalry on a hillside overlooking a massive review of troops. Large oblong folio.
One of a collection of plates of European and Asiatic armies by Rahl after Kobell, this one of massed French infantry and artillery lined-up on plain, mounted officers One of a collection of plates of European and Asiatic armies by Rahl after Kobell, this one of massed French infantry and artillery lined-up on plain, mounted officers Oblong folio.
Round colored mezzotint by Roy and Lachaussée; 'Bust portrait of Napoleon I, in profile to the left, in the centre of a series of concentric circles bearing inscriptions related to the war against the third coalition. Lettered with inscriptions detailling the events of the war against the third coalition, dedication to Alexandre Berthier, Minister of War' -- British Museum Round colored mezzotint by Roy and Lachaussée; 'Bust portrait of Napoleon I, in profile to the left, in the centre of a series of concentric circles bearing inscriptions related to the war against the third coalition. Lettered with inscriptions detailling the events of the war against the third coalition, dedication to Alexandre Berthier, Minister of War' -- British Museum Large square folio, matted; margins intact; clean. Paris, Bihn, 1952.
Hand-colored engraved plates with 15 illustrations of various national types, of which 8 are soldiers in uniform. Hand-colored engraved plates with 15 illustrations of various national types, of which 8 are soldiers in uniform. Oblong folio, matted; plate mark, margins intact; clean. N.Y., Rockman Prints, 1950.
Watercolor signed and dated '96 by J. McNeill; short officer talking to tall officer, another soldier in background with mountains in the distance Watercolor signed and dated '96 by J. McNeill; short officer talking to tall officer, another soldier in background with mountains in the distance Small upright folio. Stow-on-the-Wold, Christopher Clarke Antiques, 2014 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/)
In this image, François Talma (r.), a famous French actor, instructs Napoleon on the proper bearing of imperial grace. While Talma stands in elegant contrapposto--his back to the viewer and right hip extended to support his weight--Napoleon's imitation of the pose is stilted and humorous. Instead of exhibiting natural grace, Napoleon's body is contorted into an angular posture: his left hip juts towards the top of the sheet, and his elbow creates a sharp angle above the level of his collarbone. In addition, Napoleon extends his hand far up the staff and leans on it as if he were a conductor on a skiff. In contrast, Talma's hand rests lightly on the staff, a gesture that enhances the S-curve of his body. Napoleon and Talma are also contrasted in their choice of clothing. Talma opts for a classical tunic, robe, and laurel crown, whereas Napoleon wears his hallmark uniform: black jackboots, a cocked hat, and a blue jacket embellished with gold epaulettes and studded with buttons. The contrasts indicate the timelessness of antique grace and the fickle modern tastes. Clearly no matter how earnestly Napoleon wishes to ape the imperial model, the result will always be a grotesque. Yet the contrast also calls the status and ability of modern actors into question. Although Talma may himself mimic antique postures, his mimicry is only superficial. At the end of the day, both men are moderns attempting to embody ideals that cannot be regained. In this image, François Talma (r.), a famous French actor, instructs Napoleon on the proper bearing of imperial grace. While Talma stands in elegant contrapposto--his back to the viewer and right hip extended to support his weight--Napoleon's imitation of the pose is stilted and humorous. Instead of exhibiting natural grace, Napoleon's body is contorted into an angular posture: his left hip juts towards the top of the sheet, and his elbow creates a sharp angle above the level of his collarbone. In addition, Napoleon extends his hand far up the staff and leans on it as if he were a conductor on a skiff. In contrast, Talma's hand rests lightly on the staff, a gesture that enhances the S-curve of his body. Napoleon and Talma are also contrasted in their choice of clothing. Talma opts for a classical tunic, robe, and laurel crown, whereas Napoleon wears his hallmark uniform: black jackboots, a cocked hat, and a blue jacket embellished with gold epaulettes and studded with buttons. The contrasts indicate the timelessness of antique grace and the fickle modern tastes. Clearly no matter how earnestly Napoleon wishes to ape the imperial model, the result will always be a grotesque. Yet the contrast also calls the status and ability of modern actors into question. Although Talma may himself mimic antique postures, his mimicry is only superficial. At the end of the day, both men are moderns attempting to embody ideals that cannot be regained. This sheet is not signed or dated. Clerc attributes the engraving to Elie, and dates the image to around 1813. The authors of 'Napoleon Im Spiegel' agree with the attribution, but give 1814 as the date.
22nd of bound manuscript title-page and 25 hand-colored engraved plates of mounted hussar uniform figures (same figure or plate throughout); hussar in teal uniform, white trim, facing left, on horse with scarlet saddle blanket. 22nd of bound manuscript title-page and 25 hand-colored engraved plates of mounted hussar uniform figures (same figure or plate throughout); hussar in teal uniform, white trim, facing left, on horse with scarlet saddle blanket. Bound in blue leather tooled and stamped gold "Koronázási Banderiumok, 1790"; clean. N.Y., Apfel, 1962. title provided by cataloger
Hand-colored etched caricature by and after Marks; hussars bowing to officer in guard room. Hand-colored etched caricature by and after Marks; hussars bowing to officer in guard room. Oblong folio; plate mark; margins trimmed; slightly soiled. London, Spencer, 1955.
5th in suite of 5 numbered hand-colored etched plates by and after H.B.H.; row of comic militia figures in civilian and military dress performing caricature of drill routines under drill sergeant. 5th in suite of 5 numbered hand-colored etched plates by and after H.B.H.; row of comic militia figures in civilian and military dress performing caricature of drill routines under drill sergeant. Narrow oblong folio, 5 prints, matted; margins trimmed; worn, soiled. London, Spencer, '55. Op.
4th in suite of 5 numbered hand-colored etched plates by and after H.B.H.; row of comic militia figures in civilian and military dress performing caricature of drill routines under drill sergeant. 4th in suite of 5 numbered hand-colored etched plates by and after H.B.H.; row of comic militia figures in civilian and military dress performing caricature of drill routines under drill sergeant. Narrow oblong folio, 5 prints, matted; margins trimmed; worn, soiled. London, Spencer, '55. Op.
3rd in suite of 5 numbered hand-colored etched plates by and after H.B.H.; row of comic militia figures in civilian and military dress performing caricature of drill routines under drill sergeant. 3rd in suite of 5 numbered hand-colored etched plates by and after H.B.H.; row of comic militia figures in civilian and military dress performing caricature of drill routines under drill sergeant. Narrow oblong folio, 5 prints, matted; margins trimmed; worn, soiled. London, Spencer, '55. Op.
2nd in suite of 5 numbered hand-colored etched plates by and after H.B.H.; row of comic militia figures in civilian and military dress performing caricature of drill routines under drill sergeant. 2nd in suite of 5 numbered hand-colored etched plates by and after H.B.H.; row of comic militia figures in civilian and military dress performing caricature of drill routines under drill sergeant. Narrow oblong folio, 5 prints, matted; margins trimmed; worn, soiled. London, Spencer, '55. Op.
1st in suite of 5 numbered hand-colored etched plates by and after H.B.H.; row of comic militia figures in civilian and military dress performing caricature of drill routines under drill sergeant. 1st in suite of 5 numbered hand-colored etched plates by and after H.B.H.; row of comic militia figures in civilian and military dress performing caricature of drill routines under drill sergeant. Narrow oblong folio, 5 prints, matted; margins trimmed; worn, soiled. London, Spencer, '55. Op.
Hand-colored etched caricature (after Isaac Cruikshank?), published March 27, 1791; 'General Gunning stands in profile to the right before the door of his house, a bludgeon in his hand, driving before him his wife and daughter both scantily clad, but the latter with feathers in her hair. On the left is a military officer (Bowen) sheathing a sword in a broken sheath; Mrs. Bowen stands behind him'. -- British Museum. Hand-colored etched caricature (after Isaac Cruikshank?), published March 27, 1791; 'General Gunning stands in profile to the right before the door of his house, a bludgeon in his hand, driving before him his wife and daughter both scantily clad, but the latter with feathers in her hair. On the left is a military officer (Bowen) sheathing a sword in a broken sheath; Mrs. Bowen stands behind him'. -- British Museum. Oblong folio; plate mark, margins; slightly soiled.
Lithographic cartoon by and after D.C.J. (David Claypoole Johnston). 'The caricature reflects the bitter antagonism between Kentucky senator Henry Clay and President Andrew Jackson, during the protracted battle over the future of the Bank of the United States from 1832 through 1836. The print may relate specifically to Clay's successful 1834 campaign to exclude from the Senate journal Jackson's statement of protest against Congressional censure of his earlier actions on the Bank. Clay is shown restraining a seated, uniformed Jackson and sewing up his mouth. From Clay's pocket protrudes a slip of paper reading, "cure for calumny." Below the image is a quote from Shakespeare's "Hamlet," ". . . Clay might stop a hole, to keep the wind away." On the wall behind him are the words "Plain sewing done here."' -- Library of Congress Lithographic cartoon by and after D.C.J. (David Claypoole Johnston). 'The caricature reflects the bitter antagonism between Kentucky senator Henry Clay and President Andrew Jackson, during the protracted battle over the future of the Bank of the United States from 1832 through 1836. The print may relate specifically to Clay's successful 1834 campaign to exclude from the Senate journal Jackson's statement of protest against Congressional censure of his earlier actions on the Bank. Clay is shown restraining a seated, uniformed Jackson and sewing up his mouth. From Clay's pocket protrudes a slip of paper reading, "cure for calumny." Below the image is a quote from Shakespeare's "Hamlet," ". . . Clay might stop a hole, to keep the wind away." On the wall behind him are the words "Plain sewing done here."' -- Library of Congress Upright, matted; margins intact; soiled, stained. Presented, 1945, by Clarence Brigham, American Antiquarian Society, Worcester, Mass.
From collection of 71 original signed ink and watercolor drawings by Italo Cenni, of uniform figures, and of insignia, accessories, equipment, vehicles; with pages of descriptive notes, and 2 pages from magazine with halftone plates of uniforms; close-up view of sword hilt at left; full-length sword in scabbard at right. From collection of 71 original signed ink and watercolor drawings by Italo Cenni, of uniform figures, and of insignia, accessories, equipment, vehicles; with pages of descriptive notes, and 2 pages from magazine with halftone plates of uniforms; close-up view of sword hilt at left; full-length sword in scabbard at right. Folio, unbound; in red cloth slipcase, green leather label stamped gold; clean. Camden, Me., F. & G. Staack, 1951. title provided by cataloger
by Albert Dufaure. No. 18, Switzerland. For piano. Price 3/- Title page color illustration: Swiss soldier in traditional dress holding the national flag by 'W. Spalding, lith'
Original watercolor signed by Escher; group of mounted staff officers riding along country road on reconnaissance. Original watercolor signed by Escher; group of mounted staff officers riding along country road on reconnaissance. Oblong medium folio, matted; no margins; clean. Title supplied by cataloger. N.Y., Rockman, 1953.
Oval hand-colored original photograph; 3/4-length portrait, seated, shako on table at left. Oval hand-colored original photograph; 3/4-length portrait, seated, shako on table at left. Upright oval, matted; margins entirely trimmed away; slightly faded. Title supplied by cataloger. New York, Rockman Prints, 1954.
Unsigned ink and water-color drawing, cut-out and mounted; side view of infantryman with pack, roll, etc. leaning on gun. Unsigned ink and water-color drawing, cut-out and mounted; side view of infantryman with pack, roll, etc. leaning on gun. Small upright, matted; mount slightly yellowed. New York, Rockman (acc. 1954). Digital object made available by: Brown University Library, John Hay Library, Box A, Brown University, Providence, RI, 02912, U.S.A., (http://library.brown.edu/)
One of a pair of original unsigned watercolors; standing uniform figure of officer pointing with right hand, wearing black bicorne, red cockage, black plume, blue coat with red revers and cuffs, red lining, blue collar edged in red, gorget, black stock, buff waistcoat and breeches, white waist-belt, black gaiters. See also: Swiss Infantry soldier, c. 1804. One of a pair of original unsigned watercolors; standing uniform figure of officer pointing with right hand, wearing black bicorne, red cockage, black plume, blue coat with red revers and cuffs, red lining, blue collar edged in red, gorget, black stock, buff waistcoat and breeches, white waist-belt, black gaiters. See also: Swiss Infantry soldier, c. 1804. Small upright folio, matted; repaired tear; worn; margins; soiled. Title supplied by cataloger. N.Y., Rockman, 1949.
Unsigned original watercolor; standing uniform figure with halberd. Unsigned original watercolor; standing uniform figure with halberd. Small upright folio; margins intact; repaired tear; soiled. Title supplied by cataloger. N.Y., Rockman, 1950.
Original (slightly crude) watercolor signed by J.M.; standing uniform figure with gun. Original (slightly crude) watercolor signed by J.M.; standing uniform figure with gun. Small upright, matted; no margins; corner torn away and repaired. Title supplied by cataloger. New York, Rockman Prints, 1949.
Chromolithograph by Perlbaum; 2 standing figures showing front and back views of uniform. Chromolithograph by Perlbaum; 2 standing figures showing front and back views of uniform. Small upright folio; margins intact; clean. Title supplied by cataloger. Zurich, August Laube, 1960.
1st of pair of engraved perspective views of sieges with troops in action in foreground, cities in middle distance. 1st of pair of engraved perspective views of sieges with troops in action in foreground, cities in middle distance. Oblong medium folio, 2 prints [cf. EuB1631mf-1b], matted; plate marks, margins; clean. New York, Rockman Prints, 1952. Title supplied by cataloger
