One of a pair of 2-color lithographs by and after Kollarz, printed by J. Rauh; military review with foot soldiers and mounted officers in centre, background of buildings. [See also Die Feier des Geburtsfestes unsers Constitutionellen Kaiser Ferdinand I. am 25. April 1848]. One of a pair of 2-color lithographs by and after Kollarz, printed by J. Rauh; military review with foot soldiers and mounted officers in centre, background of buildings. [See also Die Feier des Geburtsfestes unsers Constitutionellen Kaiser Ferdinand I. am 25. April 1848]. Small oblong folio, matted folio; margins trimmed, upper margin of one entirely cut away.

Print shows a large bull labeled "Tiers Etat - Orleans" referring to Louis Philippe Joseph, duc d'Orleans, tossing Marie Antoinette into the air as Louis XVI kneels in prayer on the left; standing behind the bull, in formation, are the "Corps de Garde" wearing beer tankards, labeled "Libertas", with foaming head, on their heads as they sing, "O de Roast Beef of Old England and O de old English Roast Beef." Print shows a large bull labeled "Tiers Etat - Orleans" referring to Louis Philippe Joseph, duc d'Orleans, tossing Marie Antoinette into the air as Louis XVI kneels in prayer on the left; standing behind the bull, in formation, are the "Corps de Garde" wearing beer tankards, labeled "Libertas", with foaming head, on their heads as they sing, "O de Roast Beef of Old England and O de old English Roast Beef." Title from item. Large vertical watermark on center of paper. No known restrictions on publication. Wuppertal, Schmidt & Green, 2013

3rd in set of 3 numbered lithographic plates (No. 3) by and after Bellangé, dated 1830 by artist; armed mob led by tricolor attacking Louvre building at left. 3rd in set of 3 numbered lithographic plates (No. 3) by and after Bellangé, dated 1830 by artist; armed mob led by tricolor attacking Louvre building at left. Large oblong folio; margins intact; foxed, worn; in large blue cloth portfolio, red leather label stamped gold. New York, Rockman Prints, 1960.

Original watercolor signed by Norie; mounted British officer in combat with native cavalrymen and infantrymen, other combat in left and right background. Original watercolor signed by Norie; mounted British officer in combat with native cavalrymen and infantrymen, other combat in left and right background. Oblong folio, matted; no margins; clean. Title supplied by cataloger. London, Parker Gallery, 1965.

One of a collection of 21 etched plates of battle and siege scenes (after Baur). 'Skirmish at Rymenant between the Protestant allies and the forces of Don John of Austria; fierce attack by naked Scots auxiliaries in foreground' -- British Museum. One of a collection of 21 etched plates of battle and siege scenes (after Baur). 'Skirmish at Rymenant between the Protestant allies and the forces of Don John of Austria; fierce attack by naked Scots auxiliaries in foreground' -- British Museum. Folio, soiled, worn, mounted on tan paper, also soiled; unbound; in tan cloth portfolio stamped gold.

Partially tinted halftone after painting signed and dated 1890 by Inman; militia parade in city street, large house in background, man, African-American woman, and boy with dog in right foreground. Partially tinted halftone after painting signed and dated 1890 by Inman; militia parade in city street, large house in background, man, African-American woman, and boy with dog in right foreground. Small oblong folio, matted; margins; clean. N.Y., Argosy, 1954.

Original watercolor inscribed lower right: W. Proute 1863; troops gathered on the banks of the Severn River, carriage and civilian spectators on far right, mounted officer in foreground Original watercolor inscribed lower right: W. Proute 1863; troops gathered on the banks of the Severn River, carriage and civilian spectators on far right, mounted officer in foreground Stow-on-the-Wold, Christopher Clarke, 2015

One of a pair of original watercolor caricatures initialed W.G.E(liot); front view of officer in large cocked hat, small figures of soldiers parading etc. in background. One of a pair of original watercolor caricatures initialed W.G.E(liot); front view of officer in large cocked hat, small figures of soldiers parading etc. in background. Small upright folio; no margins; slightly soiled. N.Y., Rockman Prints, 1950.

One of a pair of original watercolor caricatures signed by W.G. E(liot); rear view of officer in large cocked hat, small figures of soldiers parading etc. in background, soldiers with ladies. One of a pair of original watercolor caricatures signed by W.G. E(liot); rear view of officer in large cocked hat, small figures of soldiers parading etc. in background, soldiers with ladies. Small upright folio; no margins; slightly soiled. N.Y., Rockman Prints, 1950.

Recently returned from Russia, French soldiers stand at attention waiting for inspection and debriefing by Napoleon. As a group they have attempted to supplement or to replace their ragged uniforms with a comical array of women's clothing, blankets, buckets, and baskets. For example, the piper, who wears his uniform jacket, also wears a bucket on his head, a straw "skirt' tied around his waist, and a pair of clogs. The general of this regiment stands in the center of the image. Like his men, he is attired in mismatched castoffs and torn clothing. The women's clothing and colorful embellishments that the soldiers wear challenges the masculinity of the French army. Long associated with foppish behavior by their English counterparts, the French soldiers are here shown not to resist this tendency despite their impoverishment. Altogether, these remnants of the French army vainly attempt to maintain a sense of decorum while they stand shivering on a patch of snow under Napoleon's glare. Napoleon stands on a flat-topped rock set in the center of a frozen pond. With the exception of the drummer boy, he is the shortest figure in the image, yet his presence is commanding and authoritative. Chest and hefty stomach pushed forward, Napoleon clasps his hands behind his back and levels a glare at the soldiers. Depicted in profile, the whole of his face is tugged downwards by his scowl, so intense that he is unaware of the mucus dripping from his nose. In his hands, he holds a sheet of paper that curls at the edges. Several other officers group behind Napoleon. They exchange glances and comments on the haggard appearance of the soldiers before them. Among them a Mameluke holds the reins to Napoleon's trademark white horse. Ridiculously mounted on ice-skate blades, the horse has such long, spindly legs that Napoleon requires the use of a ladder to climb onto the ornate saddle. As indicated below the image, the inspiration for this caricature was taken from a report printed in "The Hamburg Correspondenten." Recently returned from Russia, French soldiers stand at attention waiting for inspection and debriefing by Napoleon. As a group they have attempted to supplement or to replace their ragged uniforms with a comical array of women's clothing, blankets, buckets, and baskets. For example, the piper, who wears his uniform jacket, also wears a bucket on his head, a straw "skirt' tied around his waist, and a pair of clogs. The general of this regiment stands in the center of the image. Like his men, he is attired in mismatched castoffs and torn clothing. The women's clothing and colorful embellishments that the soldiers wear challenges the masculinity of the French army. Long associated with foppish behavior by their English counterparts, the French soldiers are here shown not to resist this tendency despite their impoverishment. Altogether, these remnants of the French army vainly attempt to maintain a sense of decorum while they stand shivering on a patch of snow under Napoleon's glare. Napoleon stands on a flat-topped rock set in the center of a frozen pond. With the exception of the drummer boy, he is the shortest figure in the image, yet his presence is commanding and authoritative. Chest and hefty stomach pushed forward, Napoleon clasps his hands behind his back and levels a glare at the soldiers. Depicted in profile, the whole of his face is tugged downwards by his scowl, so intense that he is unaware of the mucus dripping from his nose. In his hands, he holds a sheet of paper that curls at the edges. Several other officers group behind Napoleon. They exchange glances and comments on the haggard appearance of the soldiers before them. Among them a Mameluke holds the reins to Napoleon's trademark white horse. Ridiculously mounted on ice-skate blades, the horse has such long, spindly legs that Napoleon requires the use of a ladder to climb onto the ornate saddle. As indicated below the image, the inspiration for this caricature was taken from a report printed in "The Hamburg Correspondenten." Published by Hannah Humphrey. Mary George suggests that Cruikshank made this sheet after a Russian caricature not cited. This is certainly plausible, since Cruikshank signs the print with 'sculpt.,' and the title above the image is written in Cyrillic script. 1813-05-27 Caption: Altho their Dress is not gaudy it is warm & that is the principle thing!... Vide, the Hamburg Correspondenten for 1812, No. 180--14th March. Caption: Pubd May 27th 1813 by H. Humphrey St. James's Strt Annotation: 5- Annotation: TH8.58 Collector's Mark: A Collector's Mark: [a triangle]

Original pencil and watercolor drawing signed and inscribed by De la Roche; cavalry review, howing Emperor, mounted, in center background beside Empress's carriage, some peasants including a women wearing large hat looking on in right foreground. Original pencil and watercolor drawing signed and inscribed by De la Roche; cavalry review, howing Emperor, mounted, in center background beside Empress's carriage, some peasants including a women wearing large hat looking on in right foreground. Small oblong folio, matted; no margins; yellowed. Title supplied by cataloger. Presented, 1962, by Agnes Morgan.

Color lithograph after Brown; panoramic view of troops marching before Royal pavilion at right, spectators in hillsides at left, city in distance. Color lithograph after Brown; panoramic view of troops marching before Royal pavilion at right, spectators in hillsides at left, city in distance. Large oblong folio, matted; margins; margins soiled. Note on print: Number of Volunteers present 39,473

Colored needlepoint picture; Queen seated in open carriage at left watching Highland troops march past in Holyrood Park, Arthur's Seat and Salisbury Crags behind, oval vignette bust portrait of Queen at top. Colored needlepoint picture; Queen seated in open carriage at left watching Highland troops march past in Holyrood Park, Arthur's Seat and Salisbury Crags behind, oval vignette bust portrait of Queen at top. Large, mounted on wood; margins; clean. N.Y., Rockman Prints, 1950.

Wood engraved illustration on magazine page; cavalry review on a plain, town burning in right distance; short article on the capture of Savannah and wood engraved illustration of soldiers at Tarver's Mill, Georgia, below. Wood engraved illustration on magazine page; cavalry review on a plain, town burning in right distance; short article on the capture of Savannah and wood engraved illustration of soldiers at Tarver's Mill, Georgia, below. From Harper's Weekly, January 7, 1865, page 12.

A general officer (possibly Lord Raglan) reviewing a group of heavy cavalry. Unsigned. A general officer (possibly Lord Raglan) reviewing a group of heavy cavalry. Unsigned. Fold marks on drawing; picture re-backed; matted. Title supplied by cataloger.

Colored lithograph (proof?), unsigned; Lord Raglan and Omar Pasha and suite inspecting troops drawn up in left background; zouave and grenadier honor guards in foreground, tent encampment in distance. Colored lithograph (proof?), unsigned; Lord Raglan and Omar Pasha and suite inspecting troops drawn up in left background; zouave and grenadier honor guards in foreground, tent encampment in distance. Oblong folio, matted; margins trimmed; clean. New York, Walter Schatzki, 1952. Title supplied by cataloger

2nd in pair of lithographs by Schmidt after Schwarz, signed and dated by artist; review of Chevalier Gardes in courtyard, carriages, men, women and children in foreground, buildings at left and right. 2nd in pair of lithographs by Schmidt after Schwarz, signed and dated by artist; review of Chevalier Gardes in courtyard, carriages, men, women and children in foreground, buildings at left and right. Giant oblong folio; margins; clean. New York, A la Vieille Russie, 1977. title provided by cataloger

Wash and watercolor signed by Simpson; mounted figures with flag watching review. From an album compiled by Simpson entitled 'Original sketches made in Afghanistan during the campaign of 1878-79 with the Peshawer Field Force'. Wash and watercolor signed by Simpson; mounted figures with flag watching review. From an album compiled by Simpson entitled 'Original sketches made in Afghanistan during the campaign of 1878-79 with the Peshawer Field Force'. Large upright folio. London, Walter Spencer, 1953. 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/)

Original unsigned semi-humorous ink and watercolor drawing (by Rowlandson); military review in town square, men, women and children watching, officers at right center, soldiers ranged around square. Original unsigned semi-humorous ink and watercolor drawing (by Rowlandson); military review in town square, men, women and children watching, officers at right center, soldiers ranged around square. Oblong folio, matted; no margins; slightly soiled. A companion watercolor entitled 'A Review of the Northampton Militia at Brackley' is at the Yale Center for British Art: https://collections.britishart.yale.edu/vufind/Record/1670010 Chicago, Ackermann & Son. title provided by cataloger

Color line-lithograph by Morgan and Co.; view of the 4th Lancashire Artillery Volunteers parading at review on race course; men and women spectators at left, grandstands in left background. Color line-lithograph by Morgan and Co.; view of the 4th Lancashire Artillery Volunteers parading at review on race course; men and women spectators at left, grandstands in left background. Large oblong folio, matted; margins intact; clean. London, Parker Gallery, 1965.

Hand-colored primitive engraving; review on level field in countryside, officers' tent in left foreground with small military figures nearby. Hand-colored primitive engraving; review on level field in countryside, officers' tent in left foreground with small military figures nearby. Oblong folio, matted; margins intact; margins soiled. New York, Rockman Prints, 1948.

One of a collection of 12 engraved plates of equestrian portraits by and after Weiss. Mounted figure in full armor and sash, holding baton on rearing horse, city on right bank of river in background, troops massing on opposite bank. Heraldic crest in top right. One of a collection of 12 engraved plates of equestrian portraits by and after Weiss. Mounted figure in full armor and sash, holding baton on rearing horse, city on right bank of river in background, troops massing on opposite bank. Heraldic crest in top right. Upright folio, yellowed; in maroon cloth portfolio case, red lather label stamped gold. Leichtenstein-Hauslab Collection, 1951.

Hand-colored engraving; Polish lancer placing wreath on bust of Napoleon at left while holding small picture of Roi de Rome in other hand, soldier and 2 women having refreshment on balcony in right background, grenadier drinking in lower right corner, song-sheet. Hand-colored engraving; Polish lancer placing wreath on bust of Napoleon at left while holding small picture of Roi de Rome in other hand, soldier and 2 women having refreshment on balcony in right background, grenadier drinking in lower right corner, song-sheet. Small oblong folio, matted; margins trimmed; clean. N.Y., Rockman Prints, 1949.

Original pen and ink and wash sketch, signed and dated by Murphy. Series of sketches of returning soldiers in Tokyo; face, bust portrait, 6 soldiers from behind, and a group of soldiers together, perhaps coming off a train. Original pen and ink and wash sketch, signed and dated by Murphy. Series of sketches of returning soldiers in Tokyo; face, bust portrait, 6 soldiers from behind, and a group of soldiers together, perhaps coming off a train. Murphy joined the New York 7th Regiment in 1940 and trained at Camp Stewart, Georgia. He sailed to Australia in 1943 and served on General MacArthur's staff. Later he went to New Guinea and the Philippines before moving on to Japan following the surrender.

Original conté crayon and wash bust portrait sketch, signed by Murphy, of a returning soldier in Tokyo. Original conté crayon and wash bust portrait sketch, signed by Murphy, of a returning soldier in Tokyo. Murphy joined the New York 7th Regiment in 1940 and trained at Camp Stewart, Georgia. He sailed to Australia in 1943 and served on General MacArthur's staff. Later he went to New Guinea and the Philippines before moving on to Japan following the surrender.

Original pen and ink sketch on board, signed and dated by Murphy, of 5 Japanese soldiers returning from war via Ueno Station in Tokyo. Original pen and ink sketch on board, signed and dated by Murphy, of 5 Japanese soldiers returning from war via Ueno Station in Tokyo. Murphy joined the New York 7th Regiment in 1940 and trained at Camp Stewart, Georgia. He sailed to Australia in 1943 and served on General MacArthur's staff. Later he went to New Guinea and the Philippines before moving on to Japan following the surrender.

Original pen and ink and wash sketch, signed and dated by Murphy, of a group of returning Japanese soldiers in Tokyo. Original pen and ink and wash sketch, signed and dated by Murphy, of a group of returning Japanese soldiers in Tokyo. Murphy joined the New York 7th Regiment in 1940 and trained at Camp Stewart, Georgia. He sailed to Australia in 1943 and served on General MacArthur's staff. Later he went to New Guinea and the Philippines before moving on to Japan following the surrender.

Colored lithograph (after John Gilbert?); group of militiamen in various uniforms outdoors in snow near corner of house. Cover to 'Christmas Supplement to the Illustrated London News', Dec. 22d, 1860. Colored lithograph (after John Gilbert?); group of militiamen in various uniforms outdoors in snow near corner of house. Cover to 'Christmas Supplement to the Illustrated London News', Dec. 22d, 1860. Upright, matted; margins severely trimmed; worn. N.Y., Rockman Prints, 1949.

Original pencil sketch, signed and dated by Murphy, of a soldier in a heavy coat with a hood, boots and heavy equipment. Original pencil sketch, signed and dated by Murphy, of a soldier in a heavy coat with a hood, boots and heavy equipment. Murphy joined the New York 7th Regiment in 1940 and trained at Camp Stewart, Georgia. He sailed to Australia in 1943 and served on General MacArthur's staff. Later he went to New Guinea and the Philippines before moving on to Japan following the surrender.

Original ink sketch signed and dated by Stevenson; view of transport ship entering New York harbor, accompanied by tugboats; inscribed "For L.B.G." on right margin. Original ink sketch signed and dated by Stevenson; view of transport ship entering New York harbor, accompanied by tugboats; inscribed "For L.B.G." on right margin. 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.