Colored lithograph signed by Rosenthal, after terra cotta bust by Houdon; profile bust portrait in uniform. Colored lithograph signed by Rosenthal, after terra cotta bust by Houdon; profile bust portrait in uniform. Large upright folio, matted; margins intact; soiled. N.Y., Argosy, 1955.

Hand-colored stipple-engraving by Zaffonato; full-length portrait in uniform, pointing with right hand, standing near cannon and flags, ship and coastal fort in background. Hand-colored stipple-engraving by Zaffonato; full-length portrait in uniform, pointing with right hand, standing near cannon and flags, ship and coastal fort in background. Small upright folio; margins severely trimmed; soiled. Paris, Delacre sale, 1962.

Mezzotint (by Gardiner after Shchukin, engraved by Dunkarton); full-length portrait in uniform with drawn sword. Mezzotint (by Gardiner after Shchukin, engraved by Dunkarton); full-length portrait in uniform with drawn sword. Upright medium folio, mounted on cream board, matted; margins entirely trimmed away. N.Y., Argosy, 1955.

Line and stipple engraving (after Kruger?); bust portrait in uniform. Line and stipple engraving (after Kruger?); bust portrait in uniform. Upright; plate mark, margins trimmed; foxed. N.Y., Rockman Prints, 1961.

Copper-engraving by and after Engelbrecht; figure in uniform, outdoors, holding baton. Copper-engraving by and after Engelbrecht; figure in uniform, outdoors, holding baton. Upright; margins entirely trimmed away; stained; matted small folio. Leichtenstein-Hauslab Collection, 1951. title provided by cataloger

3rd of 4 original ink drawings by Hoffmann for the above work; Plate 20 : mounted cavalry drummer playing pair of kettledrums. 3rd of 4 original ink drawings by Hoffmann for the above work; Plate 20 : mounted cavalry drummer playing pair of kettledrums. Upright folio; margins; slightly soiled. New York, Walter Schatzki, 1952.

1st in pair of chromolithographic plates after Arnould; mounted uniform figure of tympanist in white uniform, leading troop of mounted military musicians in town square, men, women and children watching at left. 1st in pair of chromolithographic plates after Arnould; mounted uniform figure of tympanist in white uniform, leading troop of mounted military musicians in town square, men, women and children watching at left. Large upright folio, matted; no margins; corners, edges torn or worn. New York, Walter Schatzki, 1952.

Number 3 of a collection of 5 (of 6) color aquatint plates from the series R. Ackermann's costumes of the Volunteer Corps. Number 3 of a collection of 5 (of 6) color aquatint plates from the series R. Ackermann's costumes of the Volunteer Corps. Upright folio, margins intact; lower right corner bent; soiled. London, Parker Gallery, 1965.

Number 4 of a collection of 5 (of 6) color aquatint plates from the series R. Ackermann's Costumes of the Volunteer Corps. Number 4 of a collection of 5 (of 6) color aquatint plates from the series R. Ackermann's Costumes of the Volunteer Corps. Upright folio; plate marks, margins intact; soiled. London, Parker Gallery, 1965.

Watercolor, inscribed, signed and dated by Hervé; night scene, three French soldiers patrol along wall of ruined café. Watercolor, inscribed, signed and dated by Hervé; night scene, three French soldiers patrol along wall of ruined café. Upright; no margins. Rochester, VT, Charles Woolley, 1998

One of a pair of color aquatint plates of military scenes, bearing inscription: "Avancer des Autrichiens 1796 à Feürthalen H. Bleuler pres de Schaffhause. One of a pair of color aquatint plates of military scenes, bearing inscription: "Avancer des Autrichiens 1796 à Feürthalen H. Bleuler pres de Schaffhause. Matted large folio; margins yellowed. New York, Old Print Shop, 1949.

Lithograph by G. Engelmann; group of 4 mounted dragoons, outdoors, small figures of standing and seated infantrymen at right. Lithograph by G. Engelmann; group of 4 mounted dragoons, outdoors, small figures of standing and seated infantrymen at right. Oblong medium folio; margins intact; clean. Presented, 1986, by Alan Trueblood.

From collection of etchings by and after Zauerveid (Sauerweid) in 1 set of 14 unnumbered plates and 1 set of 12 numbered (1-6,10,12-16); military and campaign scenes showing French, Russian, Saxon, Austrian and Brunswick troops. In numbered series, numbers 1,2,3,6, and also 3 in unnumbered set, are identical with series of color aquatint plates of Saxon troops signed by Edward Hull. Two cavalryman, 1 mounted, the other dismounted, halted by stream or pond, tree at left. From collection of etchings by and after Zauerveid (Sauerweid) in 1 set of 14 unnumbered plates and 1 set of 12 numbered (1-6,10,12-16); military and campaign scenes showing French, Russian, Saxon, Austrian and Brunswick troops. In numbered series, numbers 1,2,3,6, and also 3 in unnumbered set, are identical with series of color aquatint plates of Saxon troops signed by Edward Hull. Two cavalryman, 1 mounted, the other dismounted, halted by stream or pond, tree at left. Oblong, unbound; margins intact; clean, in maroon slipcase, red leather label stamped gold "A. Sauerweid & L. Beyer, Militär-Gruppen, 1813-1815". Heidelberg, Helmut Tenner, 1954. title provided by cataloger

Lithograph by and after Kaiser; color illustration of soldiers cheering around large bronze bust of Emperor Ferdinand on the announcement that the military service period had been reduced from 14 to 8 years; sepia border of allegorical groups etc. Lithograph by and after Kaiser; color illustration of soldiers cheering around large bronze bust of Emperor Ferdinand on the announcement that the military service period had been reduced from 14 to 8 years; sepia border of allegorical groups etc. Giant oblong folio; margins intact; clean. Vienna, Christian Nebehay, 1978.

A depiction of offerings being given during the Polish Revolution in an engraved imagerie plate A depiction of offerings being given during the Polish Revolution in an engraved imagerie plate

composed & arranged for the piano forte by Edward B. Oliver, and respectfully dedicated to delegates of the Bunker Hill Whig Convention. As performed by the Boston Brass Band, September 10th, 1840. Cover lith. illustration by Moore showing General Warren on horseback on the crest of a hill overlooking a battle scene [Bunker Hill] / Moore's Lithogy., Boston, successor to Pendleton.

Original pen and ink sketch, signed by Shannon, of an African-American GI in plaster neck and torso cast, wearing pajama pants with suspenders; 8th General Hospital, Noumea, New Caledonia. Original pen and ink sketch, signed by Shannon, of an African-American GI in plaster neck and torso cast, wearing pajama pants with suspenders; 8th General Hospital, Noumea, New Caledonia. Shannon served as a war artist with the U.S. Army in the South Pacific War Art Unit in 1943. Later became picture editor and illustrator for the Army Information and Education Division, New York, 1944-1946.

In yet another image depicting a confrontation across the water of the Channel, Napoleon (r.) and John Bull (l.) sit on opposite cliffs and watch a naval battle taking place in the Channel. Napoleon wipes the tears from his eyes with a large white handkerchief and laments the loss of his gun boats to the British navy. Grinning broadly in self-satisfaction, John Bull is perched at the top of a pillar inscribed "The British Constitution." Typically robust, he clenches the stem of his pipe in his teeth and enjoys his smoke. At the base of the column the Britsh lion vigilantly stands guard and roars a warning at Napoleon. In yet another image depicting a confrontation across the water of the Channel, Napoleon (r.) and John Bull (l.) sit on opposite cliffs and watch a naval battle taking place in the Channel. Napoleon wipes the tears from his eyes with a large white handkerchief and laments the loss of his gun boats to the British navy. Grinning broadly in self-satisfaction, John Bull is perched at the top of a pillar inscribed "The British Constitution." Typically robust, he clenches the stem of his pipe in his teeth and enjoys his smoke. At the base of the column the Britsh lion vigilantly stands guard and roars a warning at Napoleon. Published by William Holland, January, 1804. Caption: Pubd. Jan. 1804 by W. Holland Cockspur Street London Dialogue: Napoleon: "O! My poor Crazy Gun Boats, why did I venture so far from home." Dialogue: Bull: "I told you they would all be swamp'd but you would be so d__d obstinate__" Dialogue: "The Mighty chief with fifty thousand Men March'd to the coast, and then March'd back again. Ha!_Ha_Ha!_"

Unsigned original watercolor; soldier seated cross-legged on ground, wearing blue turban, brown kaftan, white skirt, sword across knees, hookah at right. Unsigned original watercolor; soldier seated cross-legged on ground, wearing blue turban, brown kaftan, white skirt, sword across knees, hookah at right. Upright, matted; no margins; surface dirt. Title provided by cataloger. London, Spencer, 1952

Hand-colored etched caricature (after Gillray), published Novr. 3rd, 1797; rear view of tall, thin staff officer (Royal prince). Hand-colored etched caricature (after Gillray), published Novr. 3rd, 1797; rear view of tall, thin staff officer (Royal prince). Small upright folio, matted; plate mark, margins intact; soiled, lower right corner bent. London, Parker Gallery, 1969.

Elephant folio of the American's arrival in the Bay of Edo [Toyko], being met by Japanese officials. In the background is a Japanese ship, distinguishable by the black and white sail. Black and white are the Imperial colors of the Tokugawa shogunate. There is one American boat surveying the bay, flying an American flag. The American sailors appear in full costume. Those sailors not rowing stand ready with bayonets. A fleet of Japanese government vessels meets the American boat, in an effort to desist progress. One Japanese official holds up his hand to stop the Americans.The Japanese boats are built of pinewood, without paint. Each Japanese government vessel flies a black and white flag and a tassel at the bow. Japanese officials sit or stand, some holding fans or lances, while a numerous crew of boatmen work. The Japanese, like the Chinese scull, instead of row, the boat. The Japanese officers appear wearing jingasa [lacquered helmets], leggings, and two swords on either side. The boatmen wear a white strip of cloth over their brows, and short brightly colored robes. Elephant folio of the American's arrival in the Bay of Edo [Toyko], being met by Japanese officials. In the background is a Japanese ship, distinguishable by the black and white sail. Black and white are the Imperial colors of the Tokugawa shogunate. There is one American boat surveying the bay, flying an American flag. The American sailors appear in full costume. Those sailors not rowing stand ready with bayonets. A fleet of Japanese government vessels meets the American boat, in an effort to desist progress. One Japanese official holds up his hand to stop the Americans.The Japanese boats are built of pinewood, without paint. Each Japanese government vessel flies a black and white flag and a tassel at the bow. Japanese officials sit or stand, some holding fans or lances, while a numerous crew of boatmen work. The Japanese, like the Chinese scull, instead of row, the boat. The Japanese officers appear wearing jingasa [lacquered helmets], leggings, and two swords on either side. The boatmen wear a white strip of cloth over their brows, and short brightly colored robes. "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.

1 stereograph; small boat in foreground, castle and lighthouse in background. 1 stereograph; small boat in foreground, castle and lighthouse in background. Small oblong photograph. Gift of Jane Moment Jordan 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/)

Hand-colored etched caricature (by and) after Heath, published Feb. 6, 1834; 15th Hussar standing on scales at left and tipping off young hussar officer at right. Hand-colored etched caricature (by and) after Heath, published Feb. 6, 1834; 15th Hussar standing on scales at left and tipping off young hussar officer at right. Oblong folio, matted; margins trimmed; clean. London, Parker Gallery, 1961.

Original sepia pen and ink sketch, signed by Shannon, of Fort Belvoir soldiers with weekend passes, on a train from Washington, DC to New York City, one reading, and others sleeping. Original sepia pen and ink sketch, signed by Shannon, of Fort Belvoir soldiers with weekend passes, on a train from Washington, DC to New York City, one reading, and others sleeping. Shannon served as a war artist with the U.S. Army in the South Pacific War Art Unit in 1943. Later became picture editor and illustrator for the Army Information and Education Division, New York, 1944-1946.

Hand-colored engraving; figure of Frewillige Grenadier (?) smoking pipe and walking toward left, 2 other soldiers in background, one leaning on drum. Hand-colored engraving; figure of Frewillige Grenadier (?) smoking pipe and walking toward left, 2 other soldiers in background, one leaning on drum. Upright medium folio, matted; margins trimmed. N.Y., Rockman Prints, 1949.

One of a collection of 5 numbered original humorous pencil drawings, unsigned, (by Zampis), for series published by J. Höfelich; a passerby drops a newspaper as he is unexpectedly confronted with a cannon protruding from a barricade One of a collection of 5 numbered original humorous pencil drawings, unsigned, (by Zampis), for series published by J. Höfelich; a passerby drops a newspaper as he is unexpectedly confronted with a cannon protruding from a barricade Small; no margins; clean. Title supplied by cataloger. Vienna, Christian Nebehay, 1972.

Engraving by Antonio Verico after Carle Vernet; Napoleon and troops in mountain pass, building in left foreground, long line of troops winding off into distance. Engraving by Antonio Verico after Carle Vernet; Napoleon and troops in mountain pass, building in left foreground, long line of troops winding off into distance. Oblong folio; plate mark, margins; slightly soiled. Florence, Leo S. Olschki, 1966.

One of a collection of 21 etched plates of battle and siege scenes. Troops marching along the edge of the sea in September 1575 with Duiveland in distance. One of a collection of 21 etched plates of battle and siege scenes. Troops marching along the edge of the sea in September 1575 with Duiveland in distance. Folio, mounted on cream paper, slightly soiled, margins trimmed close; unbound; in tan cloth portfolio stamped gold. From F. Stada: 'De Bello Belgico'.

4th in collection of 12 (of 13) numbered and unnumbered hand-colored engravings by Fittler after Leveque, published April 2, 1812; soldiers led by mounted officer on white horse crossing river in boats, town and fortifications on high plateau across river in background. 4th in collection of 12 (of 13) numbered and unnumbered hand-colored engravings by Fittler after Leveque, published April 2, 1812; soldiers led by mounted officer on white horse crossing river in boats, town and fortifications on high plateau across river in background. Oblong folio, matted; most with plate mark and margins intact; some slightly soiled. From 'Campaigns of the British Army in Portugal...' London, Parker Gallery, 1950.

1st in pair of color aquatints by Vendramini after Porter; standing figure of Suvorov with kneeling priest and group of officers nearby, Russian infantry advancing against French in mountains in background, bust portrait of Alexander I in uniform below. 1st in pair of color aquatints by Vendramini after Porter; standing figure of Suvorov with kneeling priest and group of officers nearby, Russian infantry advancing against French in mountains in background, bust portrait of Alexander I in uniform below. Giant oblong folio, matted; margins slightly trimmed; repaired tears, slightly soiled. London, Spencer, 1955.