Original acrylic painting on canvas, signed and dated by Stevenson; night scene of dockyard loading area, with soldiers, truck, tractor, bow of large transport ship in background. Original acrylic painting on canvas, signed and dated by Stevenson; night scene of dockyard loading area, with soldiers, truck, tractor, bow of large transport ship in background. 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.

A nighttime amphibious landing is depicted. Pen and ink and ink wash. A nighttime amphibious landing is depicted. Pen and ink and ink wash. Fredenthal was one of the civilian artists assigned to the War Department Art Program in 1943. He served with the South Pacific War Art Unit and later became a Life magazine artist-correspondent in the Pacific. Gift of Ruth Ann Fredenthal, 1994.

10th of 11 color engravings by Harris after Martens, from sketch by White, published Dec. 1, 1848; mounted officers and staff watching over massed troops resting and sleeping on plain, ring of bonfires in distant background. 10th of 11 color engravings by Harris after Martens, from sketch by White, published Dec. 1, 1848; mounted officers and staff watching over massed troops resting and sleeping on plain, ring of bonfires in distant background. Large oblong folio, matted; plate mark, margins trimmed.

Original pen and ink sketch signed and dated by Reeks, of two soldiers sleeping in bunks aboard their transport ship the night before landing. Original pen and ink sketch signed and dated by Reeks, of two soldiers sleeping in bunks aboard their transport ship the night before landing. Title from typed label affixed to verso. Reeks joined the USMC in 1941 and saw action on Guadalcanal, New Georgia, Bougainville and Saipan. He was the only official combat artist to land on Iwo Jima with the invasion force and spent thirty days on the island sketching the campaign.

One of a collection of 37 original watercolors of uniform figures; figure in green and white with left hand tucked inside jacket and right hand on walking stick. One of a collection of 37 original watercolors of uniform figures; figure in green and white with left hand tucked inside jacket and right hand on walking stick. Small; full dark blue levant morocco stamped gold, gilt extra; clean. Hamburg, Koch auction, 1974.

Hand colored engraved board game with 17 illustrations of soldier types (some showing manual of arms) and figures, 4 of military scenes. In the center is a depiction of the Great Major on horseback with soldiers in the background. Above is an image of the Bureau der Schutterij in Amsterdam; below is a depiction of the main guard. To the left of the center is an image of a fire and to the right an image of the provost. The rest of the game board is filled with images of soldiers. Hand colored engraved board game with 17 illustrations of soldier types (some showing manual of arms) and figures, 4 of military scenes. In the center is a depiction of the Great Major on horseback with soldiers in the background. Above is an image of the Bureau der Schutterij in Amsterdam; below is a depiction of the main guard. To the left of the center is an image of a fire and to the right an image of the provost. The rest of the game board is filled with images of soldiers. Large oblong folio; plate mark, margins worn and torn. N.Y., Walter Schatzki, 1950.

Rhymed broadside or song-sheet with engraved illustration at top by and after J. Schouwenberg; drummers standing on either side of monument, militiamen parading, buildings in background, arms at top. Rhymed broadside or song-sheet with engraved illustration at top by and after J. Schouwenberg; drummers standing on either side of monument, militiamen parading, buildings in background, arms at top. Upright folio, matted; margins intact; surface dirt. N.Y., Walter Schatzki, 1957.

Lithograph by Jentzen after Krüger; bust portrait in uniform, landscape background with small figures of soldiers at right. Lithograph by Jentzen after Krüger; bust portrait in uniform, landscape background with small figures of soldiers at right. Upright folio, matted; margins trimmed; surface dirt. New York, Rockman Prints, 1951.

Lithograph by Prinzhofer, printed by Rauh; 3/4-length portrait in uniform, cocked hate in right hand. Lithograph by Prinzhofer, printed by Rauh; 3/4-length portrait in uniform, cocked hate in right hand. Upright medium folio, matted; margins entirely trimmed away; clean. Title supplied by cataloger.

Color lithograph imagerie plate with 4 rows each having 4 illustrations caricaturing Tsar Nicholas I and Russian army. Color lithograph imagerie plate with 4 rows each having 4 illustrations caricaturing Tsar Nicholas I and Russian army. Large upright folio; margins; many repaired tears; yellowed; worn.

Copper-engraving by Desrochers after Vermeulen; oval bust portrait in armor. Copper-engraving by Desrochers after Vermeulen; oval bust portrait in armor. Small upright, in white board mount; margins trimmed; clean. N.Y., Rockman Prints, 1959. Title: Nicolas de Catinat Maréchal de France ne à Paris le 1er. Septembre 1637. mort dans son Chateau de S. gratien pres S. Denis en France le 25. Fevrier 1712 Caption: P. par Vermeulen Caption: Suite de Desrochers Caption: Grand Général, dont la mémoire Sera toujours pleine de gloire, Dont Marsal et Staffarde éternisent l'honneur Du Prince Savoyard, brave et sage vainqueur, Il ne tint pas à ton courage Que notre grand Conty n'eût plus trouvé d'ouvrage. M. Moraine Caption: a Paris chez Petit rue S. Jacques à la Couronne d'epines pres les Mathurins.

Lithograph by Grégoire et Deneux after Maurin; half-length portrait in uniform, hatless. Lithograph by Grégoire et Deneux after Maurin; half-length portrait in uniform, hatless. Upright folio; plate mark, margins intact; soiled. Paris, Lemmerman, 1953.

One of a pair of engraved plates after paintings by Perkois, 1782, Jarry engraving by P.W. Megen and M. de Sallieth. 3/4-length portraits in naval dress with nautical backgrounds and ornamental enframements. See also: Pierre le Turc, Capitein op het Vlissingsche Kaper-Schip de Zeeuw. One of a pair of engraved plates after paintings by Perkois, 1782, Jarry engraving by P.W. Megen and M. de Sallieth. 3/4-length portraits in naval dress with nautical backgrounds and ornamental enframements. See also: Pierre le Turc, Capitein op het Vlissingsche Kaper-Schip de Zeeuw. Upright folio, matted; plate mark, margins worn; soiled. N.Y., Walter Schatzki, 1956.

Lithograph by H. Humphreys after Maurin, printed by Engelmann; 3/4-length portrait in uniform and cocked hat, hand on hip. Lithograph by H. Humphreys after Maurin, printed by Engelmann; 3/4-length portrait in uniform and cocked hat, hand on hip. Upright folio; marings trimmed; soiled, edges worn. New York, Rockman Prints, 1955.

Color lithograph; half-length portrait in uniform, hatless. Color lithograph; half-length portrait in uniform, hatless. Oval upright, matted; margins entirely trimmed away; clean. Title supplied by cataloger. N.Y., Argosy, 1952.

Lithograph by Lowes Dickson after Mrs. (Christina) Robertson; half-length portrait in uniform, crown at top, eagle below. Lithograph by Lowes Dickson after Mrs. (Christina) Robertson; half-length portrait in uniform, crown at top, eagle below. Upright folio, matted; margins trimmed; slightly soiled.

Steel-engraving by I.H. Robinson after Dawe, printed by Chatfield & Co.; half-length portrait in uniform, proof impression. (Title also in Russian.) Steel-engraving by I.H. Robinson after Dawe, printed by Chatfield & Co.; half-length portrait in uniform, proof impression. (Title also in Russian.) Upright folio, matted; margins; slightly soiled. New York, Rockman Prints, 1948.

In this busy scene, Napoleon and his entourage parade through a village street (right to left) toward a boat that will take them to Elba (far left). Napoleon (center) rides a mule through a "Triumphal Arch of the Bonaparte Dynasty"--really a gallows set up by the devil, who stands on the back of the mule and ties a noose around Napoleon's neck. A small demon that carries religious texts (of religions Napoleon claimed to convert or ascribe to) leads the mule. As they walk past a loyalist tavern, two chamber maids lean from upstairs windows and empty bed pans onto Napoleon and his brothers below. The sign of the tavern and the maids echo their loyalty to Louis XVIII. Napoleon's brother Joseph Bonaparte (r.) takes part in the procession by pulling a wagon that carries the King of Rome and Marie Louise. Wellington walks closely behind Joseph and places a jester's cap on his head to take the place of the crown of Spain. In the front left of the scene, three Jewish money lenders crowd around a wheelbarrow that is pushed by a Muslim. The covering on the wheelbarrow is pulled back to reveal piles of gold ornaments and jewels. The money lenders carry promissory notes, which they present in the hopes of reclaiming some of Napoleon's debt through the gold objects. However, their conversation with the Muslim quickly turns to a discussion of which faith Napoleon actually followed. A temple of fame, supported by pillars of "Murder," "Deceit," "Hypocrisy," and "Rapine" stands as a "Monument to Tyrants" on the island of Elba (far left). The genius on top of the monument holds a windmill and plays a trumpet that proclaims "Be Wise, O Therefore ye Kings!" On the right side of the sheet, three deposed rulers, the brothers of Napoleon cry over their lost posts in Westphalia, Saxony and Holland. To their left the Pope makes his way back to Rome. In this busy scene, Napoleon and his entourage parade through a village street (right to left) toward a boat that will take them to Elba (far left). Napoleon (center) rides a mule through a "Triumphal Arch of the Bonaparte Dynasty"--really a gallows set up by the devil, who stands on the back of the mule and ties a noose around Napoleon's neck. A small demon that carries religious texts (of religions Napoleon claimed to convert or ascribe to) leads the mule. As they walk past a loyalist tavern, two chamber maids lean from upstairs windows and empty bed pans onto Napoleon and his brothers below. The sign of the tavern and the maids echo their loyalty to Louis XVIII. Napoleon's brother Joseph Bonaparte (r.) takes part in the procession by pulling a wagon that carries the King of Rome and Marie Louise. Wellington walks closely behind Joseph and places a jester's cap on his head to take the place of the crown of Spain. In the front left of the scene, three Jewish money lenders crowd around a wheelbarrow that is pushed by a Muslim. The covering on the wheelbarrow is pulled back to reveal piles of gold ornaments and jewels. The money lenders carry promissory notes, which they present in the hopes of reclaiming some of Napoleon's debt through the gold objects. However, their conversation with the Muslim quickly turns to a discussion of which faith Napoleon actually followed. A temple of fame, supported by pillars of "Murder," "Deceit," "Hypocrisy," and "Rapine" stands as a "Monument to Tyrants" on the island of Elba (far left). The genius on top of the monument holds a windmill and plays a trumpet that proclaims "Be Wise, O Therefore ye Kings!" On the right side of the sheet, three deposed rulers, the brothers of Napoleon cry over their lost posts in Westphalia, Saxony and Holland. To their left the Pope makes his way back to Rome. Dialogue: Two boatsmen (left): 1: "To give the Devil his due, he deserves our thanks." 2: "There he is Peter, it seems we shall get rid of him." Dialogue: 1: "I tinks we had better pay ourshelves He hash no principal, he would sheet te Devil if he would let him." 2: "I'll have my bond! I should not have trusted him, but he said he wash one of our peuples." 3: "I trusted him with forage on the same account." 4: "He a Jew! No no Moses, he is a son of the Prophet!, a true Mussleman." Dialogue: Tavern owner: "Here Nic! Here's a babason of Tsohegrew gruet for you." Napoleon: "Dogs! Rascals! Turncoats! Am I Fallen without blowing up Paris. But I'll leave yet a bloody page for history!" Dialogue: Maid 1 (l.): "Wretch! Monster! Hypocrite! Josephine you to a throne here's your reward for your ingratitude to her!" Maid 2 (r.): "Poor Jerry there is a few drops from Patterson lake to cool your Westphalian fever - vive Louis XVIII." Dialogue: Joseph Bonaparte: "Oh my Subjects in Spain, what will they do without King Joe." Wellington: "Never mind Joe, you shall be Nic's fool in Elba - and be head Marshall over 160 coaches and take charge of the Pigs." The King of Rome: "Calico you shan't be master of my Horse. You'll pull me down. I'll anhilate you, as Papa says." Marie Louise: "Come my dear we'll take the road to Italy and his holiness will give you better lessons than your father did." Dialogue: 1: "Oh that I had staid in America with injured Patterson. I have driven my Westphalia hogs to a fine market however I have priz'd some hams" 2: "Oh Saxony! Saxony! How I have been Gulled to thine ruin!" 3: "Oh Holland! That you should part with so good a king as I was..." Inscription: Pubd. May 1st, 1814 by W. N. Jones, No. 5 Newgate Street Label(s): Proclamation of the Provisional Government of France...

Print reproduction of etching signed and dated by Flameng; battle scene, French cavalry smashing against square of British grenadiers at right. Print reproduction of etching signed and dated by Flameng; battle scene, French cavalry smashing against square of British grenadiers at right. Oblong folio, matted; margins; margins slightly soiled. title provided by cataloger

Engraved caricature plate from London Magazine, November 1776; King George III (?) on platform displaying letter from Lord Howe, disgruntled liberals or revolutionaries at left, officials at right, naval fleets in distance. Engraved caricature plate from London Magazine, November 1776; King George III (?) on platform displaying letter from Lord Howe, disgruntled liberals or revolutionaries at left, officials at right, naval fleets in distance. Upright; plate mark, margins trimmed; worn and yellowed.

Original sepia photograph; group portrait on porch and steps of barracks (?) building. Original sepia photograph; group portrait on porch and steps of barracks (?) building. Oblong folio, matted; faded and yellowed. Providence, James Tyson, 1955.

From collection of original watercolors signed and dated by FitzJames; standing uniform figure of infantryman in green jacket, blue trousers, with shouldered rifle, facing forward; also image of "shoulder-belt-plate (actual size)" and "The short land musket (Brown Bess) (2nd model)". From collection of original watercolors signed and dated by FitzJames; standing uniform figure of infantryman in green jacket, blue trousers, with shouldered rifle, facing forward; also image of "shoulder-belt-plate (actual size)" and "The short land musket (Brown Bess) (2nd model)". Folio, unbound; margins trimmed; clean; in red portfolio, red leather label st. gold, "Canadian uniforms 1720-1878 - original water colors". FitzJames, 1972-1973.

Colored lithograph by Penniman; 2 uniform figures in foreground, 1 small figure behind, against harbor background; printing below. Colored lithograph by Penniman; 2 uniform figures in foreground, 1 small figure behind, against harbor background; printing below. Small folio; yellowed, foxed and stained. New York, Old Print Shop. 1945. subtitle provided by cataloger

Lithograph by Hayward for D.T. Valentine's Manual, for 1860; view across harbor showing shipping and city, soldiers exercising in right foreground near cannon. Lithograph by Hayward for D.T. Valentine's Manual, for 1860; view across harbor showing shipping and city, soldiers exercising in right foreground near cannon. Small narrow folio, matted; margins; slight creases from folding. N.Y., Rockman Prints, 1945.

Color print by (and after?) Augier; view toward city from fort on island, showing troops and guns. Color print by (and after?) Augier; view toward city from fort on island, showing troops and guns. Oblong folio, matted; plate mark, margins intact.

composed by Edward L. White for Capt. J.G. Harris of the Rifle Corps, and respectfully dedicated by him to his friend Maj. Gen. J.D. Thompson. Lithographed title page, with illustration by Pendleton showing review of regiment before two buildings. For piano solo.

Original ink wash drawing signed by Worth; officer leading young recruits in awkward, stumbling march. Original ink wash drawing signed by Worth; officer leading young recruits in awkward, stumbling march. Oblong folio; curved upper margins; paper darkened. title provided by cataloger

Original photograph by Pach Bros.; outdoor group photograph showing 3 seated officers and civilian, men ranged behind. Tents in background. Original photograph by Pach Bros.; outdoor group photograph showing 3 seated officers and civilian, men ranged behind. Tents in background. Oblong folio, on black heavy board mount; clean. Title supplied by cataloger. New York, Rockman Prints, 1960.

Original crayon drawing signed by Cooper; standing uniform figure of private in winter dress leaning on grounded gun; manuscript ink and pencil notes and corrections (by W. M. Huddy) at either side. Original crayon drawing signed by Cooper; standing uniform figure of private in winter dress leaning on grounded gun; manuscript ink and pencil notes and corrections (by W. M. Huddy) at either side. For: 'U.S. Military Magazine', Vol. 1, plate 14. N.Y., C. Hamilton, 1966. title provided by cataloger

composed & dedicated to the officers & members of the company by William Wood. For piano. Caption title. Cover lith. ill. by Sarony & Major depicting three guardsmen outdoors, encampment in distance; surrounded by enframement of flags and military tropies. Text on cover: 'Published by Jacques & Brother, 385 Broadway. Wm. Hall & Son, 239 Broadway'