One of a collection of 4 (of 12?) numbered lithographs by and after Pruche, printed by Lemercier, of military scenes. Group of forlorn soldiers in the aftermath of a battle including dying soldier being mourned by woman, another with head in hands, one soldier praying, while others stand behind. One of a collection of 4 (of 12?) numbered lithographs by and after Pruche, printed by Lemercier, of military scenes. Group of forlorn soldiers in the aftermath of a battle including dying soldier being mourned by woman, another with head in hands, one soldier praying, while others stand behind. In light blue cloth portfolio, red leather labels stamped fold "French Caricatures, c. 1830-48." New York, Walter Schatzki, 1952.

Original ink drawing signed and dated 2 Avril 1874 by De Mena; 2 soldiers resting in guard-room. Original ink drawing signed and dated 2 Avril 1874 by De Mena; 2 soldiers resting in guard-room. Small oblong folio, matted; no margins; clean.

35th in collection of 91 lithographic plates by Villain and Gihaut frères after Charlet; drunken soldier swaying in street, assisted by 2 other soldiers; 2 smaller soldier figures in background. 35th in collection of 91 lithographic plates by Villain and Gihaut frères after Charlet; drunken soldier swaying in street, assisted by 2 other soldiers; 2 smaller soldier figures in background. In blue cloth case, blue leather stamped gold "Lithographs by Charlet". New York, Walter Schatzki, 1965.

Original oil painting signed and dated by Stevenson; U.S. soldiers standing near troop trucks in rural area, bare trees and farmland in background, planes flying overhead. Original oil painting signed and dated by Stevenson; U.S. soldiers standing near troop trucks in rural area, bare trees and farmland in background, planes flying overhead. Stevenson enlisted in the U.S. Army Corps of Engineers in July 1941. He was one of the original soldier-artists at Fort Belvoir, VA. before accepting a position as a war artist in May 1943. In 1944 he was in southern England covering the preparations for the Normandy invasion and later depicted war damage in France and Germany. Gift of the artist, 1994.

Original watercolor sketch with pen and ink, signed and dated by Stevenson, of crew lowering an army truck into the hold of a Liberty ship. Label on back: Deep, deep into the cavernous hold of a liberty ship swings a skillfully guided six by six. Original watercolor sketch with pen and ink, signed and dated by Stevenson, of crew lowering an army truck into the hold of a Liberty ship. Label on back: Deep, deep into the cavernous hold of a liberty ship swings a skillfully guided six by six. Stevenson enlisted in the U.S. Army Corps of Engineers in July 1941. He was one of the original soldier-artists at Fort Belvoir, VA. before accepting a position as a war artist in May 1943. In 1944 he was in southern England covering the preparations for the Normandy invasion and later depicted war damage in France and Germany. Gift of the artist 1994.

Original pen and ink and wash sketch, signed and dated by Stevenson, of a tank on land next to a liberty ship. Original pen and ink and wash sketch, signed and dated by Stevenson, of a tank on land next to a liberty ship. Stevenson enlisted in the U.S. Army Corps of Engineers in July 1941. He was one of the original soldier-artists at Fort Belvoir, VA. before accepting a position as a war artist in May 1943. In 1944 he was in southern England covering the preparations for the Normandy invasion and later depicted war damage in France and Germany. Gift of the artist, 1994.

Original watercolor, dated on the back by Stevenson, of ships in Southampton, England harbor. Original watercolor, dated on the back by Stevenson, of ships in Southampton, England harbor. Stevenson enlisted in the U.S. Army Corps of Engineers in July 1941. He was one of the original soldier-artists at Fort Belvoir, VA. before accepting a position as a war artist in May 1943. In 1944 he was in southern England covering the preparations for the Normandy invasion and later depicted war damage in France and Germany. Gift of the artist, 1994.

From collection of 89 original signed watercolors on board, mostly dated, by Wollen, Ibbetson, Holloway, for Gale & Polden postcards; this one signed by Ibbetson; color guard on green in foreground; castle, other soldiers and crowd of men and women spectators in background. From collection of 89 original signed watercolors on board, mostly dated, by Wollen, Ibbetson, Holloway, for Gale & Polden postcards; this one signed by Ibbetson; color guard on green in foreground; castle, other soldiers and crowd of men and women spectators in background. In red cloth case, red leather label stamped gold. London, Francis Edwards, 1966.

From collection of 89 original signed watercolors on board, mostly dated, by Wollen, Ibbetson, Holloway, for Gale & Polden postcards; this one signed by Ibbetson; officer and sergeant with shouldered rifle in foreground, on path in park; 2 rows of troops lined up on path in background, with men and women spectators. From collection of 89 original signed watercolors on board, mostly dated, by Wollen, Ibbetson, Holloway, for Gale & Polden postcards; this one signed by Ibbetson; officer and sergeant with shouldered rifle in foreground, on path in park; 2 rows of troops lined up on path in background, with men and women spectators. In red cloth case, red leather label stamped gold. London, Francis Edwards, 1966.

Chromolithograph after Japanese artist; Japanese soldiers advancing toward breach blown in wall in left foreground, British soldiers advancing in right background. Chromolithograph after Japanese artist; Japanese soldiers advancing toward breach blown in wall in left foreground, British soldiers advancing in right background. Oblong folio, matted; margins intact. London, Parker Gallery, 1957. title provided by cataloger

5th in set of 5 colored engraved plates by Harris after Martens 'from a sketch by Captn. Carey, Cape Mounted Rifles', published June 1st, 1854; two lines of mounted cavalry in blue uniforms crossing wide river. 5th in set of 5 colored engraved plates by Harris after Martens 'from a sketch by Captn. Carey, Cape Mounted Rifles', published June 1st, 1854; two lines of mounted cavalry in blue uniforms crossing wide river. Large oblong folio, matted; plate marks, margins intact; clean. London, Francis Edwards, 1946.

Lithograph after Romberg; Algerian horseman, on galloping black horse, waving hand and shouting. Lithograph after Romberg; Algerian horseman, on galloping black horse, waving hand and shouting. Giant folio; margins intact; some edges or corners torn or worn, creases. Paris, Cart, 1956.

Hansi. Subject: French Army's triumphal march into Strasbourg. Printed in colors on white paper. "Reproduction de l'affiche de Hansi pour le 3me Emprunt de la Défense nationale (Novembre 1917)." "Supplement à L'Illustration."

Lithograph after Hansi (pseudonym of Johann Waltz), print by Lapina; 3 French sentries in trench gazing at radiant image of Strasbourg Cathedral, flying French tricolor, in the distance. Lithograph after Hansi (pseudonym of Johann Waltz), print by Lapina; 3 French sentries in trench gazing at radiant image of Strasbourg Cathedral, flying French tricolor, in the distance. Giant folio; margins intact; some edges or corners torn or worn, creases. Presented, 1972, by Brown University Library

Lithograph after Faivre; nude soldier wearing helmet and sword belt, carrying French flag, attacks German eagle with sword. Lithograph after Faivre; nude soldier wearing helmet and sword belt, carrying French flag, attacks German eagle with sword. Giant folio; margins intact; some edges or corners torn or worn, creases. Paris, Cart, 1956.

Lithograph after Malherbe by Devambez; French soldier lifting up female figure of Liberté, who holds tricolor in one hand and wreath in the other over soldier's head. Lithograph after Malherbe by Devambez; French soldier lifting up female figure of Liberté, who holds tricolor in one hand and wreath in the other over soldier's head. Giant folio; margins intact; some edges or corners torn or worn, creases. Rutland, Vt., Tuttle, 1968.

One of 2 color postcards, numbered 15, of uniform figures. See also: Sous-officier de peloton de l'Escorte de Sa Majesté Impériale. One of 2 color postcards, numbered 15, of uniform figures. See also: Sous-officier de peloton de l'Escorte de Sa Majesté Impériale. Upright; margins intact; slightly soiled. Providence, Zaremba, 1958.

One of 2 color postcards, numbered 11, of uniform figures. [See also: Soud-officier du régiment de Cosaques de Sa Majesté Impériale.] One of 2 color postcards, numbered 11, of uniform figures. [See also: Soud-officier du régiment de Cosaques de Sa Majesté Impériale.] Upright; margins intact; slightly soiled. Providence, Zaremba, 1958. .

American soldiers lining up for soup in front of a ruined building. Charcoal drawing signed and dated lower right L. Jonas. American soldiers lining up for soup in front of a ruined building. Charcoal drawing signed and dated lower right L. Jonas. Oblong folio. Title supplied by cataloger.

One of a collection of 10 color lithographic military bust portraits. Figure in olive green coat facing left. One of a collection of 10 color lithographic military bust portraits. Figure in olive green coat facing left. Unbound, clean, in blue cloth portfolio, red leather labels stamped gold "Napoleon's Marshals ... c. 1830." Roulleau, 1956.

Lithograph by Maurin after Rouillard, print by Delpech; bust portrait in uniform. Lithograph by Maurin after Rouillard, print by Delpech; bust portrait in uniform. Upright folio; margins intact; foxed. title: SOULT. printed signature: Maurin caption: Roillard pinxt. caption: Lith. de Delpech A Paris. printed signature: Soult

Soldiers in trench and firing over wall Soldiers in trench and firing over wall From Raffet's Souvenirs d'Italie, 1849

Mezzotint by P.L. Debucourt after Vernet, hand colored by Vernet; hussar discharging pistol at infantryman at left, soldiers firing from fort in right background. Mezzotint by P.L. Debucourt after Vernet, hand colored by Vernet; hussar discharging pistol at infantryman at left, soldiers firing from fort in right background. Large oblong folio, matted giant folio; margins trimmed; edges worn and soiled. Title supplied by cataloger. Paris, Bihn, 1950.

Hand-colored engraved caricature by Fleischmann after Voltz; 3 bürger-gardes (?) at right in blue coats and breeches piped in light blue with light blue collars, cuffs and epualettes (officer has silver epaulette), black gaiters and bearskin caps with red plumes; at left is comic group of 3 early bürger-gardes in unmatching outfits. The caricature contrasts the Bavarian army at the end of the 18th century with the reorganized Bavarian army at the beginning of the 19th century. Hand-colored engraved caricature by Fleischmann after Voltz; 3 bürger-gardes (?) at right in blue coats and breeches piped in light blue with light blue collars, cuffs and epualettes (officer has silver epaulette), black gaiters and bearskin caps with red plumes; at left is comic group of 3 early bürger-gardes in unmatching outfits. The caricature contrasts the Bavarian army at the end of the 18th century with the reorganized Bavarian army at the beginning of the 19th century. Small oblong folio, matted folio; plate mark, margins intact. New York, Rockman Prints, 1949.

Color photogravure after Payne, dated December 1899 by artist, printed in Munich and published Jan. 1st, 1900; standing and mounted military and naval uniform group showing a variety of uniforms, landscape background with smaller figures in action etc. 'For the Benefit of the Transvaal War Fund for Widows and Orphans' Color photogravure after Payne, dated December 1899 by artist, printed in Munich and published Jan. 1st, 1900; standing and mounted military and naval uniform group showing a variety of uniforms, landscape background with smaller figures in action etc. 'For the Benefit of the Transvaal War Fund for Widows and Orphans' Large upright folio; margins intact; clean. London, Parker Gallery, 1965.

written by "Private" Miles O'Riley ; composed by Chas. Van Oeckelen. Song; for voice and piano. Caption title. English words; verses 1-3 printed beneath the vocal line. First line of text: Comrades known in marches many. Illustration: five small scenes depicting the titles of the five songs in the collection: Sambo's right to be kilt, Song of the soldiers, The review, Our Lady of the hospital, and The swords were thirty seven / lith. of Henry C. Eno.

strophic with chorus. piano and voice (satb) Words and Music by One of the Regiment. Arranged for the Piano Forte by Prof. Cull. Thomas & Eno, Lith. strophic with chorus. piano and voice (satb) Words and Music by One of the Regiment. Arranged for the Piano Forte by Prof. Cull. Thomas & Eno, Lith. 1 score (5 p.) sheet music. image/jpeg.

Napoleon (center) is weighed in a balance against Robespierre (l.) by Time (u.l.). The scale Robespierre stands on is weighed by scrolls inscribed with his crimes like the "Noyades de Nantes," or the drownings of Nantes. His scale is also being pulled down into the chasm by the Devil and prominent figures of the French Revolution, like Marat. Despite the severity of his crimes Robespierre is still higher in the balance than Napoleon--he even gestures towards him and proclaims "C'est lui qui l'emporte." Napoleon hovers inches above a river that flows red with blood. The scrolls on his scale are inscribed "Levée en masse," "Espagne," and "Moscou." He reaches towards his brother Joseph, dressed in white, and two officers who are on the edge of a bluff and asks for their help. While Joseph and one of the officers reach for him, the other cries "Sauve qui Peut" ("Save yourselves") and begins to flee in the opposite direction. Napoleon (center) is weighed in a balance against Robespierre (l.) by Time (u.l.). The scale Robespierre stands on is weighed by scrolls inscribed with his crimes like the "Noyades de Nantes," or the drownings of Nantes. His scale is also being pulled down into the chasm by the Devil and prominent figures of the French Revolution, like Marat. Despite the severity of his crimes Robespierre is still higher in the balance than Napoleon--he even gestures towards him and proclaims "C'est lui qui l'emporte." Napoleon hovers inches above a river that flows red with blood. The scrolls on his scale are inscribed "Levée en masse," "Espagne," and "Moscou." He reaches towards his brother Joseph, dressed in white, and two officers who are on the edge of a bluff and asks for their help. While Joseph and one of the officers reach for him, the other cries "Sauve qui Peut" ("Save yourselves") and begins to flee in the opposite direction. July 1815 Dialogue: Robespierre on left side of scale: "C'est lui qui l'emporte." Napoleon on right side of scale: "Soutenez moi donc." Joseph Bonaparte on land at right: "Il nous entraine." Figure at far right: "Sauve qui peut." Figure at bottom left: "Grace à lui on pense encore à nous." Robespierre: "It's he who wins." Napoleon: "Hold me up." Joseph Bonaparte: "We'll pull you." Figure at far right: "Run for your life." Figure at bottom left: "Thanks to him we are thought of again." Label(s): L'ami du Peuple. Journées 2 et 37 [obscured]. Liste des [obscured]. Noyades de Nantes. Label(s): Levée on masse. Espagne. Moscow. The quotation is from Britannicus, by Jean Racine (1639-1699), Act V, Scene 6

Engraving by Schmidt after Delorme; oval portrait in cuirass, hatless. Engraving by Schmidt after Delorme; oval portrait in cuirass, hatless. Large upright folio; plate mark, margins intact; clean. title: Son Altesse Serenissime Monseigneur Le Comte De la Marche. caption: P. de Lorme pinx. caption: Schmidt sculp.

Unsigned engraving (from book, marked Tom.I, No.1); oval bust portrait of Eugene in military costume, encircled by laurel, supported by allegorical figures in foliate enframement, arms at top. Unsigned engraving (from book, marked Tom.I, No.1); oval bust portrait of Eugene in military costume, encircled by laurel, supported by allegorical figures in foliate enframement, arms at top. Upright folio; plate mark, margins trimmed close; clean. N.Y., Rockman Prints, 1955.