2nd in group of 3 colored lithographic plates of military and campaign scenes; Australian infantry in blue jackets, pith helmets, marching across beach, flanked by crowd of cheering sailors, onlookers; ships in background. 2nd in group of 3 colored lithographic plates of military and campaign scenes; Australian infantry in blue jackets, pith helmets, marching across beach, flanked by crowd of cheering sailors, onlookers; ships in background. Large oblong folio, matted; margins intact; clean. London, Parker Gallery, 1965.

Color lithograph by Currier; soldiers landing from small boats rowed by sailors; battle between warships and fortress in background. Color lithograph by Currier; soldiers landing from small boats rowed by sailors; battle between warships and fortress in background. Oblong folio, matted; margins trimmed; yellowed. N.Y., Old Print Shop, 1949.

Elephant folio of the American second landing in Japan. In the background, the entire American squadron is visible. The American squadron consisted of nine ships, three steamers: Powhatan, Susqehanna, Mississippi and six sailing vessels: Macedonia, Vandalia, Saratoga, Southhampton, Lexington, and Supply. Boats holding American officers, marines, sailors, and the band approach the shore. There is one distinctive Japanese vessel to the left of the squadron. On the left could possibly be the Treaty House where the diplomatic relations would produce the Treaty of Kanagawa on March 31. The color red is ubiquitous; one flag is white with a central red stripe, another flag is white with a central red design, and the tassel flags are red. Japanese officers wear jingasa [lacquered wooden helmet], an haori [short loose jacket] with mon [family crest] marks, hakama [loose trousers], and two swords on either side of the body. Other Japanese officials wear an haori, and hakama, with their hair tied and pulled front over their semi bald scalp. American officers are lined up and stand attention, for the reception of Commodore Perry. In the center, a dog chases another dog. Elephant folio of the American second landing in Japan. In the background, the entire American squadron is visible. The American squadron consisted of nine ships, three steamers: Powhatan, Susqehanna, Mississippi and six sailing vessels: Macedonia, Vandalia, Saratoga, Southhampton, Lexington, and Supply. Boats holding American officers, marines, sailors, and the band approach the shore. There is one distinctive Japanese vessel to the left of the squadron. On the left could possibly be the Treaty House where the diplomatic relations would produce the Treaty of Kanagawa on March 31. The color red is ubiquitous; one flag is white with a central red stripe, another flag is white with a central red design, and the tassel flags are red. Japanese officers wear jingasa [lacquered wooden helmet], an haori [short loose jacket] with mon [family crest] marks, hakama [loose trousers], and two swords on either side of the body. Other Japanese officials wear an haori, and hakama, with their hair tied and pulled front over their semi bald scalp. American officers are lined up and stand attention, for the reception of Commodore Perry. In the center, a dog chases another dog. "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.

Elephant folio of the American landing in Shimoda. The environment of Shimoda is quite different from the beach at the Bay of Edo. Heine captures the unique flora, and a mountain range is visible in the left background. Three of the squadron's ships are visible in the background. There are a number of boats on the water. In the American ships, one or two sailors remain on board. The rest of the squadron is marching towards the right foreground. There are several Japanese boats on the water [made of pinewood, and unadorned with paint], and on two appear boatmen, in short brightly colored robes. In the center the American officials meet the Japanese officials. The Japanese officials bow, and the American official tips his hat. Beyond this meeting, the band plays, and the officers march on, traveling with canons. In the foreground stand a number of people, American sailors, Japanese women and children, Japanese laborers and Japanese officers. The Japanese women wear kimono, haori [short loose jacket], geta [platformed sandals], and an ornamental kushi [comb] in their hair. The young Japanese girls also wear kimono. The Japanese officers wear jingasa [lacquered helmet], haori with mon [family crest] marks, hakama [loose trousers], and ama-geta [wooden clogs]. The Japanese laborers short robes and sandals. Again, Heine has drawn himself into the pictorial space. He sits, in sailor costume, with paper in his lap, and a pencil in his hand. One young Japanese watches him. Elephant folio of the American landing in Shimoda. The environment of Shimoda is quite different from the beach at the Bay of Edo. Heine captures the unique flora, and a mountain range is visible in the left background. Three of the squadron's ships are visible in the background. There are a number of boats on the water. In the American ships, one or two sailors remain on board. The rest of the squadron is marching towards the right foreground. There are several Japanese boats on the water [made of pinewood, and unadorned with paint], and on two appear boatmen, in short brightly colored robes. In the center the American officials meet the Japanese officials. The Japanese officials bow, and the American official tips his hat. Beyond this meeting, the band plays, and the officers march on, traveling with canons. In the foreground stand a number of people, American sailors, Japanese women and children, Japanese laborers and Japanese officers. The Japanese women wear kimono, haori [short loose jacket], geta [platformed sandals], and an ornamental kushi [comb] in their hair. The young Japanese girls also wear kimono. The Japanese officers wear jingasa [lacquered helmet], haori with mon [family crest] marks, hakama [loose trousers], and ama-geta [wooden clogs]. The Japanese laborers short robes and sandals. Again, Heine has drawn himself into the pictorial space. He sits, in sailor costume, with paper in his lap, and a pencil in his hand. One young Japanese watches him. "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.

Original watercolor signed and dated by Bostick; beach landscape, large landing craft on shore, 2 welders repairing damage to lower left side of hull. Original watercolor signed and dated by Bostick; beach landscape, large landing craft on shore, 2 welders repairing damage to lower left side of hull. Bostick joined the U.S. Navy in 1942 and served as an artist and cartographer. He worked on amphibious map reproductions for the invasion of Sicily in 1943 and the D-Day invasion, 1944. title provided by cataloger

A heavily damaged landing craft is pulled up to shore, its entrance open. A single soldier or Marine wearing a helmet stands in the center of the image. A heavily damaged landing craft is pulled up to shore, its entrance open. A single soldier or Marine wearing a helmet stands in the center of the image. 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.

Original watercolor signed by Reeks; 3 U.S. landing craft leaving through gates of large ship in heavy seas, under bombardment; 2 more ships, explosions in background. Original watercolor signed by Reeks; 3 U.S. landing craft leaving through gates of large ship in heavy seas, under bombardment; 2 more ships, explosions in background. 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. title provided by cataloger

Original watercolor signed by Reeks; amphibious landing under heavy fire; landing craft seen from behind in heavy seas, heading toward beach amid explosions. Original watercolor signed by Reeks; amphibious landing under heavy fire; landing craft seen from behind in heavy seas, heading toward beach amid explosions. 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. title provided by cataloger

Original watercolor by Reeks; landing craft in heavy seas, explosions and geysers, approaching beach in background. Original watercolor by Reeks; landing craft in heavy seas, explosions and geysers, approaching beach in background. 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. title provided by cataloger

Lithograph by Baerentzen & Co.; bust portrait in uniform and orders, hatless. Lithograph by Baerentzen & Co.; bust portrait in uniform and orders, hatless. Upright, mounted on green paper; margins; clean. N.Y., Rockman, 1962.

3rd in collection of 7 prints; wood-engraving by Bürkner after Dürer; standing Landesknechte with pikes, battling armored soldiers with pikes and swords. 3rd in collection of 7 prints; wood-engraving by Bürkner after Dürer; standing Landesknechte with pikes, battling armored soldiers with pikes and swords. Folio; in folio slipcase of brown cloth; brown leather label stamped gold; most plates trimmed close. Leichtenstein-Hauslab Collection, 1951. title provided by cataloger

One of a suite of 8 wood engraved plates (on both sides of 4 sheets) (by Kallenberg after Köbel) of landsknecht Fahnenträger, in military dress, by and after Koebel. [See also Examples of Heraldic Figures], drawing by Jacob Koebel. From: 'Wappen des heiligen Roemischen Reich', Frankfurt. One of a suite of 8 wood engraved plates (on both sides of 4 sheets) (by Kallenberg after Köbel) of landsknecht Fahnenträger, in military dress, by and after Koebel. [See also Examples of Heraldic Figures], drawing by Jacob Koebel. From: 'Wappen des heiligen Roemischen Reich', Frankfurt. Upright; margins trimmed; worn. New York, Rockman Prints, 1949.

Wood-engraved plate; 3 illustrations of sailors operating Howitzer. From 'Frank Leslie's Illustrated Newspaper', April 27, 1861, page 361 Wood-engraved plate; 3 illustrations of sailors operating Howitzer. From 'Frank Leslie's Illustrated Newspaper', April 27, 1861, page 361 Upright folio; margins intact; worn. Hanover, N.H., Book & Print Shop, 1956.

One of a collection of 37 hand colored engraved plates of uniform groups by J.C. Muller after Carl. 5 uniform figures; one boy soldier playing drum, 2 with muskets, 2 with halberds. One of a collection of 37 hand colored engraved plates of uniform groups by J.C. Muller after Carl. 5 uniform figures; one boy soldier playing drum, 2 with muskets, 2 with halberds. Small oblong folio; full pebble-grain dark green levant, stamped and tooled gold, with maroon levant cover label stamped gold "Armée Hessoise"; clean. Paris, auction, 1956.

1 of 49 hand-colored engravings of single figures in uniform by and after Voigts. From 'Darstellung des uniforme der Königlich-Dänischen armee. In Ueberein Stimmung mit dem Königlich Reglement gezeichnet. MDCCCXVIII. D. Voigts fecit frem: Lieutenant im Holst Lanz Rgmt' (1818). 1 of 49 hand-colored engravings of single figures in uniform by and after Voigts. From 'Darstellung des uniforme der Königlich-Dänischen armee. In Ueberein Stimmung mit dem Königlich Reglement gezeichnet. MDCCCXVIII. D. Voigts fecit frem: Lieutenant im Holst Lanz Rgmt' (1818). Folio. Book-plate of Grand Duke Paul Alexandrovitch. Paris, G. Salet, 1951. 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/)

Lithograph by and after G. Simonau, ated 1833 by artist; uniform group outdoors near corner of farm building. Lithograph by and after G. Simonau, ated 1833 by artist; uniform group outdoors near corner of farm building. Small oblong folio; margins intact; worn, yellowed, one corner torn off. Brussels, Delacre sale, 1961.

Colored lithograph by de Lasteyrie after Charlet; soldiers relaxing and talking in camp, one with arm around another. Colored lithograph by de Lasteyrie after Charlet; soldiers relaxing and talking in camp, one with arm around another. Oblong folio, matted; margins severely trimmed; clean. New York, Rockman Prints, 1949. Title supplied by cataloger

From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; standing figure of cavalryman in black jacket, blue trousers, yellow trim, hands on hips, facing left. From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; standing figure of cavalryman in black jacket, blue trousers, yellow trim, hands on hips, facing left. Unbound; clean, some slightly yellowed; in red portfolio, black label st. gold "Italian uniforms, 1900-1912; original watercolor caricatures" by "J. Ronny". Rome, Querzola, 1967.

From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; standing figure of cavalryman in black jacket, blue trousers, mustard trim, hands on hips, facing right. From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; standing figure of cavalryman in black jacket, blue trousers, mustard trim, hands on hips, facing right. Unbound; clean, some slightly yellowed; in red portfolio, black label st. gold "Italian uniforms, 1900-1912; original watercolor caricatures" by "J. Ronny". Rome, Querzola, 1967.

From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; profile view of cavalryman in black jacket, blue trousers, red trim, hussar-style hat, facing left. From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; profile view of cavalryman in black jacket, blue trousers, red trim, hussar-style hat, facing left. Unbound; clean, some slightly yellowed; in red portfolio, black label st. gold "Italian uniforms, 1900-1912; original watercolor caricatures" by "J. Ronny". Rome, Querzola, 1967.

From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; profile view of cavalryman in black jacket, light blue trousers, white trim, walking toward left. From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; profile view of cavalryman in black jacket, light blue trousers, white trim, walking toward left. Unbound; clean, some slightly yellowed; in red portfolio, black label st. gold "Italian uniforms, 1900-1912; original watercolor caricatures" by "J. Ronny". Rome, Querzola, 1967.

From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; standing figure of cavalryman in black jacket, blue trousers, orange trim, hussar-style hat, walking toward right. From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; standing figure of cavalryman in black jacket, blue trousers, orange trim, hussar-style hat, walking toward right. Unbound; clean, some slightly yellowed; in red portfolio, black label st. gold "Italian uniforms, 1900-1912; original watercolor caricatures" by "J. Ronny". Rome, Querzola, 1967.

From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; standing figure of cavalry officer in black jacket, blue trousers, red trim, large hussar-style hat. From set of 42 from "Esercito Italiano" in collection of 805 ink and watercolor drawings of uniform figures on postcards, signed by J. Ronni; standing figure of cavalry officer in black jacket, blue trousers, red trim, large hussar-style hat. Unbound; clean, some slightly yellowed; in red portfolio, black label stamped gold "Italian uniforms, 1900-1912; original watercolor caricatures" by "J. Ronny". Rome, Querzola, 1967.

55th in set of 100 numbered signed watercolors of uniform figures by Boisselier; mounted lancer in light blue uniform, white trim, riding toward left. 55th in set of 100 numbered signed watercolors of uniform figures by Boisselier; mounted lancer in light blue uniform, white trim, riding toward left. Unbound; in 1/4 blue leatherette and marble board portfolio lettered gold on back "Armée de Naples", and with original tempera painting of trophies on cover; clean. Paris, Cart 1951.

One of a suite of 24 original watercolor drawings by Knötel of cavalry, garde and gendarmerie uniform figures. Figure in blue and yellow holding flag and sword facing right while figure on horse and figure walking away are in background. One of a suite of 24 original watercolor drawings by Knötel of cavalry, garde and gendarmerie uniform figures. Figure in blue and yellow holding flag and sword facing right while figure on horse and figure walking away are in background. Upright, unbound, in blue cloth case, white leather back stamped gold. Berlin, Knötel, 1955.

64th in collection of 67 matted plates; mounted Prussian lancer, in blue jacket, gray trousers, riding toward left. 64th in collection of 67 matted plates; mounted Prussian lancer, in blue jacket, gray trousers, riding toward left. In folio mats, unbound; in black leatherette portfolio stamped gold on front cover "Basset. Troupes Etrangères"; clean, some plates trimmed. No. 64. Paris, Ordonneau sale, '1970.

One of a collection of 4 somewhat crude watercolors of uniform figures, evidently copied and/or varied from plates by Aaron Martinet One of a collection of 4 somewhat crude watercolors of uniform figures, evidently copied and/or varied from plates by Aaron Martinet Upright mounted on white paper; no margins; foxing. Paris, Grangié sale, 1965. Title supplied by cataloger

One of a collection of 4 somewhat crude watercolors of uniform figures, evidently copied and/or varied from Martinet plates. One of a collection of 4 somewhat crude watercolors of uniform figures, evidently copied and/or varied from Martinet plates. Upright, mounted on white paper; no margins; foxing. Title supplied by cataloger Paris, Grangié sale, 1965.

Lithograph by Villain after Charlet, dated 1839 by artist and numbered 39; mounted lancer on ledge overlooking countryside. Lithograph by Villain after Charlet, dated 1839 by artist and numbered 39; mounted lancer on ledge overlooking countryside. Oblong folio, matted; margins intact; soiled. London, Redfern (Maggs), 1956. Title supplied by cataloger

One of a collection of 88 original watercolors signed by Finart of Russian, British, Austrian, Bavarian, Prussian and French uniform figures. Soldier in red with white plumed hat, arms folded across chest. One of a collection of 88 original watercolors signed by Finart of Russian, British, Austrian, Bavarian, Prussian and French uniform figures. Soldier in red with white plumed hat, arms folded across chest. Unbound, slightly yellowed; in red marble board slipcase, red leather back stamped gold. Paris, Grangié sale, 1963. Series title supplied by cataloger.