Stipple-engraving by G. Childs after Fairman; standing uniform figure of Washington Grays (of Philadelphia), smaller figures in background. Stipple-engraving by G. Childs after Fairman; standing uniform figure of Washington Grays (of Philadelphia), smaller figures in background. Small oblong folio; plate mark, margins intact; slightly soiled.

2nd in collection of annotated watercolor and pencil sketches by Huddy and others for U.S. Military Magazine, music covers etc., and 1 holograph letter; sketch of standing uniform figure of infantryman in dark green, holding rifle, pointing toward right. 2nd in collection of annotated watercolor and pencil sketches by Huddy and others for U.S. Military Magazine, music covers etc., and 1 holograph letter; sketch of standing uniform figure of infantryman in dark green, holding rifle, pointing toward right. Folio; blue cloth, buff leather label stamped gold; most sketches soiled, worn, creased, torn etc. New York, Joseph A. Heckel, 1952.

Color mezzotint by E. Massard after Coudert; Washington, Rochambeau, and other French and Continental officers conferring outside field tent, American flag in background right. Color mezzotint by E. Massard after Coudert; Washington, Rochambeau, and other French and Continental officers conferring outside field tent, American flag in background right. Oblong folio, matted; plate mark, margins intact; soiled. New York, Harry H. Hymes, 1945.

Colored engraving of Washington mounted on horse near river. Colored engraving of Washington mounted on horse near river. Large folio; foxed, worn, torn.

Wood engraving, after Peale; Washington, 3/4-length in uniform, right hand thrust inside waistcoat, outdoors. Wood engraving, after Peale; Washington, 3/4-length in uniform, right hand thrust inside waistcoat, outdoors. Upright, mounted on cream board; margins trimmed; slightly soiled. Hanover, N.H., Book & Print Shop, 1955.

Color lithograph by H. Jannin; Washington, mounted, leading soldiers in close-combat charge against English and Native Americans at left. Color lithograph by H. Jannin; Washington, mounted, leading soldiers in close-combat charge against English and Native Americans at left. Small oblong folio, matted; margins; margins worn. London, Parker Gallery, 1968.

Color lithograph by Currier; Washington kneeling at table in tent. Color lithograph by Currier; Washington kneeling at table in tent. Small upright folio, matted; margins trimmed; stained.

composed by B.A. Burditt. Cover title. Title page illustration by Thayer & co: officer standing near cannon, small figures in distance near tent.

Color lithograph; officers and soldiers in foreground greeting Washington and wife, standing in snow near tree and cooking fire at center, tents and sheds in left background, troops drawing up in right background, women on right, African American soldier standing behind holding three geese. Color lithograph; officers and soldiers in foreground greeting Washington and wife, standing in snow near tree and cooking fire at center, tents and sheds in left background, troops drawing up in right background, women on right, African American soldier standing behind holding three geese. Oblong folio, matted; margins; yellowed. N.Y., Old Print Shop, 1967.

Mixed media engraved proof by W. Wright Smith after Hicks; full-length portrait in uniform, standing in grounds of Mount Vernon. Mixed media engraved proof by W. Wright Smith after Hicks; full-length portrait in uniform, standing in grounds of Mount Vernon. Large upright folio; margins trimmed; clean, margins foxed. Boston, William J. MacPherson, 1962.

In this uncolored engraving, Napoleon, accompanied by two decorated figures, has just landed on the coast of England and is led out of his walnut shell boat and brought to John Bull, who stands over a mousetrap. Between Bull and Napoleon two figures in uniform march at the front of this odd procession that resolutely heads for the trap. Both figures are grotesqued, and are represented on the same diminutive scale as is Napoleon. The first soldier sticks out his tongue and carries three symbols of the French Revolution: a liberty tree, a bonnet rouge, and a streamer inscribed: Freiheit, Gleichheit, Bruderschaft. (Liberty, Equality, Brotherhood). The second figure carries Napoleon's imperial trappings. While his right hand holds a cushion on which is the imperial crown, his left holds three stakes which are topped by a gesturing hand, a small statue of Charlemagne enthroned, and an eagle. Additionally, he carries a cloak patterned with Napoleonic bees (or perhaps the fleur-de-lys?) across his forearms. The two commanding figures, the Duke of Wellington (?, l.) and the Emperor of Germany ( r.) flank Napoleon and grasp his long donkey ears growing on either side of his cap. Napoleon is guided forward by a figure wearing striped clothing and a straw hat, who is walking slightly to the side of the procession while holding the end of the chain attached to Napoleon's nose. Just as he himself is pulled along, Napoleon also holds the ropes that bind six long rows of walnut-shell vessels in which French officers and soldiers are seated. Under the image a 'dialog' between Napoleon (Der grosse Kaiser) and John Bull is printed. Despite his obvious capture, Napoleon, the fool, persists in believing that he is still a conquering Emperor. In response John Bull replies that Napoleon must have Kaiserfieber, or roughly translated--'King-fever.' Bull also comments that once Napoleon has marched into the trap the stability of the world will be restored. In the left distance, two allied ships stand guard over the ranks of walnut-shells. On the right, a peaceful landscape of gentle hills extends into the distance. In this uncolored engraving, Napoleon, accompanied by two decorated figures, has just landed on the coast of England and is led out of his walnut shell boat and brought to John Bull, who stands over a mousetrap. Between Bull and Napoleon two figures in uniform march at the front of this odd procession that resolutely heads for the trap. Both figures are grotesqued, and are represented on the same diminutive scale as is Napoleon. The first soldier sticks out his tongue and carries three symbols of the French Revolution: a liberty tree, a bonnet rouge, and a streamer inscribed: Freiheit, Gleichheit, Bruderschaft. (Liberty, Equality, Brotherhood). The second figure carries Napoleon's imperial trappings. While his right hand holds a cushion on which is the imperial crown, his left holds three stakes which are topped by a gesturing hand, a small statue of Charlemagne enthroned, and an eagle. Additionally, he carries a cloak patterned with Napoleonic bees (or perhaps the fleur-de-lys?) across his forearms. The two commanding figures, the Duke of Wellington (?, l.) and the Emperor of Germany ( r.) flank Napoleon and grasp his long donkey ears growing on either side of his cap. Napoleon is guided forward by a figure wearing striped clothing and a straw hat, who is walking slightly to the side of the procession while holding the end of the chain attached to Napoleon's nose. Just as he himself is pulled along, Napoleon also holds the ropes that bind six long rows of walnut-shell vessels in which French officers and soldiers are seated. Under the image a 'dialog' between Napoleon (Der grosse Kaiser) and John Bull is printed. Despite his obvious capture, Napoleon, the fool, persists in believing that he is still a conquering Emperor. In response John Bull replies that Napoleon must have Kaiserfieber, or roughly translated--'King-fever.' Bull also comments that once Napoleon has marched into the trap the stability of the world will be restored. In the left distance, two allied ships stand guard over the ranks of walnut-shells. On the right, a peaceful landscape of gentle hills extends into the distance. Broadley dates this sheet to 1815, and notes the publisher was Campe. Verse: Der grosse Kaiser: "Da liegt das längst ersehnte Land/ Ver meinen trunknen Blicken!/ Zwar fühl'ich zweier Helden Hand/ Mich an den Ohren zwicken./ Doch hängt sich ein getreuer Schwarm/ Mir an den Fuss und an den Arm, /Und dort erst wird ich Kaiser." Verse: John Bull: "Er Kaiser? Er? Vergess er doch/ Einmal das Kaiserfieber/ Sieht er! Man steckt Ihn hier ins Loch;/ Drum schickt man Ihn herüber./ Er und die treuen Grossmarchalle/ Ihr könnte in einer Rattenfalle/ Den Weltenrausch verschlafen."

Hand-colored version of image also depicted in black and white Napoleon, accompanied by two decorated figures, has just landed on the coast of England and is led out of his walnut shell boat and brought to John Bull, who stands over a mousetrap. Between Bull and Napoleon two figures in uniform march at the front of this odd procession that resolutely heads for the trap. Both figures are grotesqued, and are represented on the same diminutive scale as is Napoleon. The first soldier sticks out his tongue and carries three symbols of the French Revolution: a liberty tree, a bonnet rouge, and a streamer inscribed: Freiheit, Gleichheit, Bruderschaft. (Liberty, Equality, Brotherhood). The second figure carries Napoleon's imperial trappings. While his right hand holds a cushion on which is the imperial crown, his left holds three stakes which are topped by a gesturing hand, a small statue of Charlemagne enthroned, and an eagle. Additionally, he carries a cloak patterned with Napoleonic bees (or perhaps the fleur-de-lys?) across his forearms. The two commanding figures, the Duke of Wellington (?, l.) and the Emperor of Germany (?, r.) flank Napoleon and grasp his long donkey ears growing on either side of his cap. Napoleon is guided forward by a figure wearing striped clothing and a straw hat, who is walking slightly to the side of the procession while holding the end of the chain attached to Napoleon's nose. Just as he himself is pulled along, Napoleon also holds the ropes that bind six long rows of walnut-shell vessels in which French officers and soldiers are seated. Under the image a 'dialog' between Napoleon (Der grosse Kaiser) and John Bull is printed. Despite his obvious capture, Napoleon, the fool, persists in believing that he is still a conquering Emperor. In response John Bull replies that Napoleon must have Kaiserfieber, or roughly translated--'King-fever.' Bull also comments that once Napoleon has marched into the trap the stability of the world will be restored. In the left distance, two allied ships stand guard over the ranks of walnut-shells. On the right, a peaceful landscape of gentle hills extends into the distance. Hand-colored version of image also depicted in black and white Napoleon, accompanied by two decorated figures, has just landed on the coast of England and is led out of his walnut shell boat and brought to John Bull, who stands over a mousetrap. Between Bull and Napoleon two figures in uniform march at the front of this odd procession that resolutely heads for the trap. Both figures are grotesqued, and are represented on the same diminutive scale as is Napoleon. The first soldier sticks out his tongue and carries three symbols of the French Revolution: a liberty tree, a bonnet rouge, and a streamer inscribed: Freiheit, Gleichheit, Bruderschaft. (Liberty, Equality, Brotherhood). The second figure carries Napoleon's imperial trappings. While his right hand holds a cushion on which is the imperial crown, his left holds three stakes which are topped by a gesturing hand, a small statue of Charlemagne enthroned, and an eagle. Additionally, he carries a cloak patterned with Napoleonic bees (or perhaps the fleur-de-lys?) across his forearms. The two commanding figures, the Duke of Wellington (?, l.) and the Emperor of Germany (?, r.) flank Napoleon and grasp his long donkey ears growing on either side of his cap. Napoleon is guided forward by a figure wearing striped clothing and a straw hat, who is walking slightly to the side of the procession while holding the end of the chain attached to Napoleon's nose. Just as he himself is pulled along, Napoleon also holds the ropes that bind six long rows of walnut-shell vessels in which French officers and soldiers are seated. Under the image a 'dialog' between Napoleon (Der grosse Kaiser) and John Bull is printed. Despite his obvious capture, Napoleon, the fool, persists in believing that he is still a conquering Emperor. In response John Bull replies that Napoleon must have Kaiserfieber, or roughly translated--'King-fever.' Bull also comments that once Napoleon has marched into the trap the stability of the world will be restored. In the left distance, two allied ships stand guard over the ranks of walnut-shells. On the right, a peaceful landscape of gentle hills extends into the distance. Broadley dates this sheet to 1815, and notes the publisher was Campe. Verse: Der Grosse Kaiser: Da liegt das langt erschente Land/ Ver meinen trunknen Blicken!/ Zwar fuhl'ichzweier Helden Hand/ Mich an den Ohren zwicken./ Doch hangt sich ein getreuer Schwarm/ Mir an den Fuss und an den Arm, Und dort erst wird ich Kaiser. Verse: John Bull: Er Kaiser? Er? Vergess er doch/ Einmal das Kaiserfieber/ Sieht er! Man steckt Ihn hier ins Loch;/ Drum schickt man Ihn heruber./ Er und die treuen Grossemarchalle/ Ihr konnte in einer Rattenfalle/ Da Weltenrausch verschlafen.

Engraved panorama showing procession, coaches, royal tents etc. for entry of King and bride into city portal at right. Depicts the arrival of Archduchess Anne Habsburg, the intended bride of Sigismund III Vasa, then King of Poland, on May 28, 1592, entering Krakow. Engraved panorama showing procession, coaches, royal tents etc. for entry of King and bride into city portal at right. Depicts the arrival of Archduchess Anne Habsburg, the intended bride of Sigismund III Vasa, then King of Poland, on May 28, 1592, entering Krakow. Oblong folio; plate mark, margins; clean, center crease. Vienna, Christian Nebehay, 1958.

11th in suite of 12 mounted finely-executed watercolor and gouache drawings, attributed to Sunqua; warrior in elaborate cloak, partially tucked into belt, with arrow-sheath on his back. 11th in suite of 12 mounted finely-executed watercolor and gouache drawings, attributed to Sunqua; warrior in elaborate cloak, partially tucked into belt, with arrow-sheath on his back. Upright small folio, bound in album; margins; slightly foxed. London, Maggs, 1964. title provided by cataloger

Cover illustration: Gen. Joseph Warren on horseback. Behind the figure is a representation of the Battle of Bunker Hill in which Warren was killed.

Warren Phalanx Quick Step, Composed & Dedicated to Capt. Jos. F. Boyd, and the Officers & Members of the Corps by a Member. Arranged for the Piano Forte by S. Knaebel. For piano. Lithographic cover illustration by and after R. Cooke, printed by Moore: militia company and band drawn up before Market House, Charlestown, MA.

Warren Phalanx Quick Step, Composed & Dedicated to Capt. Jos. F. Boyd, and the Officers & Members of the Corps by a Member. Arranged for the Piano Forte by S. Knaebel. For piano. Lithographic cover illustration by and after R. Cooke, pr. by Moore: militia company and band drawn up before Market House, Charlestown, MA.

Engraving by Franck after Juvigny; panoramic scene of battle, encampments, military formations. Shows the battlefield outside of Mohács in Hungary in 1687 Engraving by Franck after Juvigny; panoramic scene of battle, encampments, military formations. Shows the battlefield outside of Mohács in Hungary in 1687 Oblong folio; margins trimmed; slightly creased. Vienna, Christian Nebehay, 1963.

Mezzotint by Gabriel Bodenehr after J.W.B,; horseless gun-carriage manned by 4 men, ornamental scrolled border with trophies etc. and description printed below. Mezzotint by Gabriel Bodenehr after J.W.B,; horseless gun-carriage manned by 4 men, ornamental scrolled border with trophies etc. and description printed below. Oblong folio, matted; margins trimmed very close. Leichtenstein-Hauslab Collection, 1951.

Matted and signed sepia photograph of Warder H. Roberts, young U.S. officer, braided decoration on shoulders. Matted and signed sepia photograph of Warder H. Roberts, young U.S. officer, braided decoration on shoulders. Upright; clean.

Poster showing refugee men, women and children, near cart, nun, in a ruined street. Poster showing refugee men, women and children, near cart, nun, in a ruined street. Townsend. Printed in black and gray on white paper. Text continues: They cannot fight & raise food at the same time. Denying ourselves only a little means Life to them. United States Food Administration. No. 19. Title from item.

Napoleon is depicted standing before a tent on St Helena, leading an army of rats who bear miniature cannons and bayonets. Napoleon is depicted standing before a tent on St Helena, leading an army of rats who bear miniature cannons and bayonets. February 23, 1816 Caption: Published at R. Ackermann's, 101 Strand, Feby 23rd, 1816 Label(s): Vivre libre ou courir! [Live free or run!]

Poster shows boy with hoe chasing fleeing vegetables to illustrate the success of growing food in local "victory gardens." Part of the National War Garden Commission's campaign to encourage Americans to raise more food and free resources for the United States military needs in World War I. Poster shows boy with hoe chasing fleeing vegetables to illustrate the success of growing food in local "victory gardens." Part of the National War Garden Commission's campaign to encourage Americans to raise more food and free resources for the United States military needs in World War I. Title from item.

Original gouache signed by Hughes; American G.I. carrying crosses over shoulder and shovel in right hand, graveyard with crosses in background. Original gouache signed by Hughes; American G.I. carrying crosses over shoulder and shovel in right hand, graveyard with crosses in background. Upright folio; no margins; clean.

One of a pair of stipple engravings by J. Whessell after Singleton; officer taking leave of wife and family under canopy before joining troops about to embark, 2 soldiers with horse and flag in right foreground. One of a pair of stipple engravings by J. Whessell after Singleton; officer taking leave of wife and family under canopy before joining troops about to embark, 2 soldiers with horse and flag in right foreground. Large upright folio, matted; plate mark, margins; edges worn.

Two troopers lie dead near one dead horse, another horse lies wounded between them, all surrounded by debris. Two troopers lie dead near one dead horse, another horse lies wounded between them, all surrounded by debris. Sir Edwin Landseer, R.A., Pinxt. ; L. Stocks, R.A., Sculpt Companion piece to Peace

Engraved print (for book covers?); twin framed images of statuary and facade of government building; image at left showing winged angel or goddess holding two shields with imperial insignia. Engraved print (for book covers?); twin framed images of statuary and facade of government building; image at left showing winged angel or goddess holding two shields with imperial insignia. Oblong folio; margins; clean.

One of a collection of 14 anonymous engraved plates after Ulrich and Mayr. Soldier playing flute, two soldiers in distance, rhymed caption below. One of a collection of 14 anonymous engraved plates after Ulrich and Mayr. Soldier playing flute, two soldiers in distance, rhymed caption below. Blue paper cover, manuscript title in pencil "Anonym Copien nach Mayr & Ulrich. 14 Bl." in tan cloth case, brown leather backstrip label stamped gold "Mayr & Ulrich--Copie nach Soldatenbuch--c. 1630"; trimmed, yellowed. Leichtenstein-Hauslab Collection, 1951.

One of a collection of 14 anonymous engraved plates (after Ulrich and Mayr). Soldier with plumed hat walking to the left and playing drum, rhymed caption below. One of a collection of 14 anonymous engraved plates (after Ulrich and Mayr). Soldier with plumed hat walking to the left and playing drum, rhymed caption below. Blue paper, manuscript title in pencil "Anonym Copien nach Mayr & Ulrich. 14 Bl." in tan cloth case, brown leather backstrip label stamped gold "Mayr & Ulrich--Copie nach Soldatenbuch--c. 1630"; trimmed and yellowed. Leichtenstein-Hauslab Collection, 1951.

One of 11 original unsigned watercolor (by Lawson) of uniform figures. A mounted soldier wearing coat, in uniform, standing in the storm. One of 11 original unsigned watercolor (by Lawson) of uniform figures. A mounted soldier wearing coat, in uniform, standing in the storm. Unbound, in tan cloth slip-case, black leather label st. gold. London, Lawson, 1966.