Color lithograph State Coach about to leave Abbey annex, Life Guard escort drawn up at left, spectators in foreground and in grandstands. Color lithograph State Coach about to leave Abbey annex, Life Guard escort drawn up at left, spectators in foreground and in grandstands. Oblong folio, matted; margins; slightly soiled, creased. London, Parker Gallery, 1952.

1 lithograph on paper; open railway wagon with figures inside and a woman opening door; German soldier beating man in foreground; prisoner being led away. From the War Series. Inscribed in pencil, lower right: "Geo. Bellows J.B.B." by artist's daughter, Jean Bellows Booth. 1 lithograph on paper; open railway wagon with figures inside and a woman opening door; German soldier beating man in foreground; prisoner being led away. From the War Series. Inscribed in pencil, lower right: "Geo. Bellows J.B.B." by artist's daughter, Jean Bellows Booth. Large oblong folio. Fairlawn, Ohio, Thomas French Fine Art, 2010 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 uncolored engraving, a glass carriage in which Louis XVIII and his entourage sit, rides full steam (l. to r.) towards Paris leaving Napoleon and his armies trampled in its wake. The carriage is ornamented with fleurs-de-lys and is labeled "Les Lis from Brussels to Paris." The restored Bourbon king sits in the rear window of the carriage and is easily identified by his round jowly face. Talleyrand sits in the center window and looks full-face at the viewer. Among the other figures in the carriage, men wearing clerical regalia figure prominently. The carriage itself is a fortress on wheels. Crenelations around the top of the vehicle and in the windows provide spaces for miniature cannons. On the top of the carriage, a tiny fortress manned by British and Russian soldiers is surrounded by puffs of smoke from the artillery. Standing guard as footmen on the back of the carriage are four allied leaders who George has identified (r. to l.) as William I of Holland, The King of Prussia, the Russian Czar, and the Emperor of Austria. All four exclaim, "Vive le Roi! Vive le Roi!." Immediately behind them a group of soldiers rush in on foot, one carrying a Russian flag identifies them as allies. In the left fore ground a Russian soldier uses his bayonet to spear a French soldier who cries "Vive L'Empereur!" The carriage is driven by Wellington, holding a sword, and Blücher, who also holds a sword and smokes a pipe. Both cheer: "Vive le Roi! Vive le Roi!" Wellington holds the reins which are connected to four galloping horses mounted by two British and two Russian cavalry officers; all four hold streaming flags and swords. Several French soldiers, including Napoleon, are pummeled by the hooves of the horses. In this uncolored engraving, a glass carriage in which Louis XVIII and his entourage sit, rides full steam (l. to r.) towards Paris leaving Napoleon and his armies trampled in its wake. The carriage is ornamented with fleurs-de-lys and is labeled "Les Lis from Brussels to Paris." The restored Bourbon king sits in the rear window of the carriage and is easily identified by his round jowly face. Talleyrand sits in the center window and looks full-face at the viewer. Among the other figures in the carriage, men wearing clerical regalia figure prominently. The carriage itself is a fortress on wheels. Crenelations around the top of the vehicle and in the windows provide spaces for miniature cannons. On the top of the carriage, a tiny fortress manned by British and Russian soldiers is surrounded by puffs of smoke from the artillery. Standing guard as footmen on the back of the carriage are four allied leaders who George has identified (r. to l.) as William I of Holland, The King of Prussia, the Russian Czar, and the Emperor of Austria. All four exclaim, "Vive le Roi! Vive le Roi!." Immediately behind them a group of soldiers rush in on foot, one carrying a Russian flag identifies them as allies. In the left fore ground a Russian soldier uses his bayonet to spear a French soldier who cries "Vive L'Empereur!" The carriage is driven by Wellington, holding a sword, and Blücher, who also holds a sword and smokes a pipe. Both cheer: "Vive le Roi! Vive le Roi!" Wellington holds the reins which are connected to four galloping horses mounted by two British and two Russian cavalry officers; all four hold streaming flags and swords. Several French soldiers, including Napoleon, are pummeled by the hooves of the horses. Inscription: Pubd Septr. 6th, 1815 by H. Humphrey, 27 St. James's Street. Printed Signature: Etchd by G. Cruikshank. Printed Signature: G.H. invt.

Elephant folio of the American squadron in Lew Chew. In the foreground, Japanese samurai stand. Heine captures the landscape and architecture of the small structures [mostly with thatched roofs] skillfully. In the background, the American squadron marches. On a small hill, small groups of American sailors and officers stand and talk amongst themselves. Heine painted himself into the picture; he is the only one sitting on top of the small hill, with his paper in his lap, and pencil in hand. In the far right foreground, three Lew Chew men sit underneath an ornately decorated roof. Next to them is a small garden with two pools of water, and little shrines. Two Ryukyuan officials stand in native dress, one holding an umbrella. Elephant folio of the American squadron in Lew Chew. In the foreground, Japanese samurai stand. Heine captures the landscape and architecture of the small structures [mostly with thatched roofs] skillfully. In the background, the American squadron marches. On a small hill, small groups of American sailors and officers stand and talk amongst themselves. Heine painted himself into the picture; he is the only one sitting on top of the small hill, with his paper in his lap, and pencil in hand. In the far right foreground, three Lew Chew men sit underneath an ornately decorated roof. Next to them is a small garden with two pools of water, and little shrines. Two Ryukyuan officials stand in native dress, one holding an umbrella. "To Commodore M.C. Perry. Officers and men of the Japan Expedition this print is respectfully dedicated by their Obt.Servts, Heine and Brown." New York, Old Print Shop, 1948.

Scene of a group of people gathered near a tree, looking out over a body of water. Scene of a group of people gathered near a tree, looking out over a body of water. Gift of the artist, 1996. Caddell trained in a topographical unit at Mitchell Field, Long Island, NY. He served with the Army Air Corps in New Guinea, the Philippines and Japan from 1944 until 1946.

Sir Garnet Wolseley and staff at the bridge of Tel-el-Kebir cheered on by soldiers on each side, some Egyptian prisoners. Sir Garnet Wolseley and staff at the bridge of Tel-el-Kebir cheered on by soldiers on each side, some Egyptian prisoners. Photogravure on paper; matted.

4th in collection of 4 engraved plates after Langendyck; retreating army moving through winter landscape, women and child camp followers. 4th in collection of 4 engraved plates after Langendyck; retreating army moving through winter landscape, women and child camp followers. Small oblong folio; margins; somewhat soiled. Paris, Grangié sale, 1968. Title supplied by cataloger

Hand-colored steel-engraved plate from book after Chappel; British soldiers retreating along country road, house and barn burning at right, village in background. Hand-colored steel-engraved plate from book after Chappel; British soldiers retreating along country road, house and barn burning at right, village in background. Oblong, matted; margins intact; slightly soiled. N.Y., Old Print Shop, 1957.

Original watercolor drawing (by Atkinson); Napoleon seated in tent shelter, soldiers at campfire at left, members of staff standing at right, mountains in background. Original watercolor drawing (by Atkinson); Napoleon seated in tent shelter, soldiers at campfire at left, members of staff standing at right, mountains in background. Small oblong folio, matted; margins; clean. London, Spencer, 1953. Title supplied by cataloger

2nd in collection of 4 engraved plates after Langendyck; troops and women and children camp followers assembling in boats to board ships in left background, house at right foreground. 2nd in collection of 4 engraved plates after Langendyck; troops and women and children camp followers assembling in boats to board ships in left background, house at right foreground. Depicts the retreat from Den Helder in the Anglo-Russian campaign in Holland of 1799. Paris, Grangié sale, 1968. Title supplied by cataloger

Etching [after Charlet]; long line of defeated French troops straggling through snow at dusk. After the 1836 oil painting in the Musée des Beaux-Arts de Lyon Etching [after Charlet]; long line of defeated French troops straggling through snow at dusk. After the 1836 oil painting in the Musée des Beaux-Arts de Lyon Small oblong folio; plate mark, margins intact; clean. Paris, Bihn, 1952.

One of a suite of 4 numbered engraved plates by Née and Masquelier after Liebeteau; military court and battle scenes showing Swiss escorting Charles IX of France and regaining Paris, etc. Swiss entering Paris. One of a suite of 4 numbered engraved plates by Née and Masquelier after Liebeteau; military court and battle scenes showing Swiss escorting Charles IX of France and regaining Paris, etc. Swiss entering Paris. Oblong folio, unbound; in blue cloth slipcase, white leather label stamped gold; clean. Zürich, Paul Alfred Hauser, 1964.

One of a suite of 4 numbered engraved plates by Née and Masquelier after Liebeteau; military court and battle scenes showing Swiss escorting Charles IX of France and regaining Paris etc. Troops outside fort, woman with child in right foreground One of a suite of 4 numbered engraved plates by Née and Masquelier after Liebeteau; military court and battle scenes showing Swiss escorting Charles IX of France and regaining Paris etc. Troops outside fort, woman with child in right foreground Oblong folio, unbound; in blue cloth slipcase, white leather label stamped gold; foxed, soiled. Zürich, Paul Alfred Hauser, 1964.

One of a suite of 4 numbered engraved plates by Née and Masquelier after Liebeteau; military court and battle scenes showing Swiss escorting Charles IX of France and regaining Paris, etc. Troops marching through countryside. One of a suite of 4 numbered engraved plates by Née and Masquelier after Liebeteau; military court and battle scenes showing Swiss escorting Charles IX of France and regaining Paris, etc. Troops marching through countryside. Oblong folio, unbound; in blue cloth slipcase, white leather label stamped gold; yellowed. N.Y., Rockman Prints, 1964.

Stipple- and line-engraved plate by Baleverest after Prieur; arrival of Royal coach and revolutionary military escort at barrière, numerous spectators. Stipple- and line-engraved plate by Baleverest after Prieur; arrival of Royal coach and revolutionary military escort at barrière, numerous spectators. Oblong folio, matted; margins trimmed, worn, creased. N.Y., Argosy, 1954.

One of a pair of lithographs by Lemercier after Adam, number 2; Napoleon welcomed by French troops in countryside. (No. 1 Napoléon débarque au Golfe Juan) One of a pair of lithographs by Lemercier after Adam, number 2; Napoleon welcomed by French troops in countryside. (No. 1 Napoléon débarque au Golfe Juan) Small oblong folio; margins intact; clean.

Hand-colored engraving by Couché Fils and Bovinet after Heim; Napoleon carried from coach, cheered by soldiers. Hand-colored engraving by Couché Fils and Bovinet after Heim; Napoleon carried from coach, cheered by soldiers. Oblong, 1 of 2 prints [cf FrP1815-3a]; plate marks, margins intact; clean. Paris, Bessel, 1960.

Sketch of General Norstad (U.S.A.), General Gale (Great Britain), and one other, unidentified, man, meeting. Sketch of General Norstad (U.S.A.), General Gale (Great Britain), and one other, unidentified, man, meeting. Bromberg entered the U.S. Army in April 1942, becoming an official war artist in April 1943 assigned to air force stations in England and Ireland. He covered the Normandy landings and saw action with the Third Army in France and Germany. He later served in Brussels with NATO.

This satire is one of many that deals with Napoleon's exile. Napoleon rides a nag through billows of fog towards "Hell-Bar" gate in the left distance. Lacking a saddle and reins, he clutches at the horse's mane. Napoleon has been effectively stripped of the attributes of his reign and empire; his head is bare, and the braid and medals that decorated his uniform have been removed, leaving Napoleon to wear a simple coat and toeless jackboots. Eyes opened wide in alarm, he casts a backwards glance at a small demon who sits on the horse's tail. The demon clutches a large book in his left arm and holds his nose with his free hand, while blowing a cloud of smoke from his mouth. A winged devil guides the horse by placing his hand on its muzzle and carries a scourge is in his right hand. His cloven hooves match the horse's stride as they march away from Paris. Addressing Napoleon, the Devil tells him to expect a warm welcome upon his return "home." In the far right distance, the city of Paris gleams under the rising sun of Louis XVIII who has been restored to the French throne. Signs of graphite erasure are evident in the lower right corner. This satire is one of many that deals with Napoleon's exile. Napoleon rides a nag through billows of fog towards "Hell-Bar" gate in the left distance. Lacking a saddle and reins, he clutches at the horse's mane. Napoleon has been effectively stripped of the attributes of his reign and empire; his head is bare, and the braid and medals that decorated his uniform have been removed, leaving Napoleon to wear a simple coat and toeless jackboots. Eyes opened wide in alarm, he casts a backwards glance at a small demon who sits on the horse's tail. The demon clutches a large book in his left arm and holds his nose with his free hand, while blowing a cloud of smoke from his mouth. A winged devil guides the horse by placing his hand on its muzzle and carries a scourge is in his right hand. His cloven hooves match the horse's stride as they march away from Paris. Addressing Napoleon, the Devil tells him to expect a warm welcome upon his return "home." In the far right distance, the city of Paris gleams under the rising sun of Louis XVIII who has been restored to the French throne. Signs of graphite erasure are evident in the lower right corner. Uncolored engraving, published by Knight. 1814-04-28 Dialogue: Devil: "never fear Friend nap you will find a warm reception every body at home will be glad to see you." Annotation: 3, 26 [circled and struck through], 1402 [circled] Annotation: TH264 Collector's Mark: A

Original pencil sketch signed and dated by Chapman; resting soldier in helmet reclining against wall, with rifle across lap. Original pencil sketch signed and dated by Chapman; resting soldier in helmet reclining against wall, with rifle across lap. Chapman served in the U.S. Army and sketched scenes stateside, in convoy, and in England before being transferred in 1944 to the Public Relations and Historical Section of the 84th Infantry Division to produce work on the Battle of Germany. He also did cartoons for the 84th divisional newspaper and Stars & Stripes. title provided by cataloger

Two GIs rest on the deck of a ship amid supplies. Signed and dated. Two GIs rest on the deck of a ship amid supplies. Signed and dated. Gold was inducted into the U.S. Army in May 1942, and was selected by the War Department Art Advisory Committee to serve as a war artist in Europe. Assigned to the Historical Branch, ETO, he traveled through the United Kingdom, France and Germany. His work also appeared in Yank magazine. Gift of the artist 1994.

One of 2 song sheets mounted on front and back of 1 piece of cardboard; wood engraved illustration of women soldiers marching. [See also: La Niña Recluta.] One of 2 song sheets mounted on front and back of 1 piece of cardboard; wood engraved illustration of women soldiers marching. [See also: La Niña Recluta.] Upright small; margins trimmed; yellowed and worn. Oxford, Rosenthal, 1956.

Color lithograph printed by Kelloggs & Thayer; battle scene, showing wounded American and Mexican soldiers in foreground. Color lithograph printed by Kelloggs & Thayer; battle scene, showing wounded American and Mexican soldiers in foreground. Small oblong folio, matted; margins trimmed; yellowed and foxed. N.Y., Old Print Shop, 1955.

One of a collection of 4 unbound color lithograph plates by Adolph Göhde. Soldiers and civilians in battle; woman with long dagger being molested by soldiers. One of a collection of 4 unbound color lithograph plates by Adolph Göhde. Soldiers and civilians in battle; woman with long dagger being molested by soldiers. In green cloth portfolio stamped gold "Scenes of Balkan War. Loban, c. 1890". New York, Rockman Prints, 1957.

One of a collection of 10 mounted original watercolors signed and dated by Vladimiroff, of revolutionary scenes, some showing soldiers. Soldiers holding crowd back with rifles while others remove items from the inside of a church in St. Petersburg. One of a collection of 10 mounted original watercolors signed and dated by Vladimiroff, of revolutionary scenes, some showing soldiers. Soldiers holding crowd back with rifles while others remove items from the inside of a church in St. Petersburg. Oblong folio; mounted and bound in portfolio 1/4 red leather stamped gold and marble boards; clean. N.Y., Lemmermann, '53. TRd.

composed by Charles Glover. Cover titled. March; for piano. Lithographic cover design by Major & Knapp: bust portrait of Custer (based on a photograph by Mathew Brady)

One of a collection of 21 mounted original unsigned watercolor and wash drawings with typewritten titles pasted on back. Battle scene near Delhi. One of a collection of 21 mounted original unsigned watercolor and wash drawings with typewritten titles pasted on back. Battle scene near Delhi. Unbound, mounted on paper, in red cloth portfolio, green leather label stamped gold; clean. For or copied from Charles Ball, 'The History of the Indian Mutiny'.

Front page of official journal of French Republic; sheet includes small image of war poster, titled Le 3e Emprunt de la Défense Nationale, showing peasant greeting soldier on village street, with another poster on wall behind them. Front page of official journal of French Republic; sheet includes small image of war poster, titled Le 3e Emprunt de la Défense Nationale, showing peasant greeting soldier on village street, with another poster on wall behind them. Giant folio; margins intact; some edges or corners torn or worn, creases. Paris, Cart, 1956.

by L. Louis. For piano. Cover title. Cover lithographic illustration by Sarony, Major & Knapp: two figures of officers in regimental uniform, background of draperies, furniture, etc.

From collection of original watercolors and drawings by R. Baldwin; pencil sketch showing side views of bomber nose and wing, and fighter plane. From collection of original watercolors and drawings by R. Baldwin; pencil sketch showing side views of bomber nose and wing, and fighter plane. After training at Pendleton Field, Oregon, in aerial and ground photography, Baldwin served with the 20th U.S. Air Force as public relations photographer and artist. Stationed on Iwo Jima, he later covered the surrender of Japanese forces in Tokyo Bay, August, 1945. Gift of the artist, 1994.