1 of 4 sepia lithographed plates, after Eisen; soldier figure holding rifle. 1 of 4 sepia lithographed plates, after Eisen; soldier figure holding rifle. Small upright folio, margins intact; slightly soiled. signature: Ch. Eisen number: 42

Wood engraving by and after Lorck, (dated 1551 on bridge?); execution scene showing at left mounted noble apparently paying 3 soldiers on foot including one archer, seated victim bound to tree at right and pierced by arrows, fortified town in background. Wood engraving by and after Lorck, (dated 1551 on bridge?); execution scene showing at left mounted noble apparently paying 3 soldiers on foot including one archer, seated victim bound to tree at right and pierced by arrows, fortified town in background. Oblong folio, joined in middle; margins trimmed close; clean. New York, Rockman Prints, 1954. Title supplied by cataloger.

Color lithograph; platform in prison courtyard with 4 prisoners hanging, surrounded by military guard, officers, priest, spectators, etc. Color lithograph; platform in prison courtyard with 4 prisoners hanging, surrounded by military guard, officers, priest, spectators, etc. Small oblong folio; margins intact; yellowed, soiled, tears and spots in margin. N.Y., Harry H. Hymes, 1945.

Lithograph by and after A.H., printed by Turgis; 3/4-length portrait in uniform and cap, wearing 2 orders. Lithograph by and after A.H., printed by Turgis; 3/4-length portrait in uniform and cap, wearing 2 orders. Upright folio, matted; margins trimmed; foxed. N.Y., Rockman Prints, 1955.

Engraving by Johann Philip Thelott; equestrian portrait facing right, in armor, small figures of soldiers and battle in background. Engraving by Johann Philip Thelott; equestrian portrait facing right, in armor, small figures of soldiers and battle in background. Upright folio; margins trimmed very close; matted folio. Leichtenstein-Hauslab Collection, 1951.

Etching by Lucas Vorstermann after Van Dyck; oval bust portrait in part-armor and collar of the Order of Golden Fleece. Etching by Lucas Vorstermann after Van Dyck; oval bust portrait in part-armor and collar of the Order of Golden Fleece. Upright, mounted on white paper; margins severely trimmed. New York, Rockman Prints, 1962.

Copper-engraving by and after Mehrer; equestrian portrait in uniform, facing left on rearing horse and waving sword, small mounted figures in background. Copper-engraving by and after Mehrer; equestrian portrait in uniform, facing left on rearing horse and waving sword, small mounted figures in background. Small upright folio, matted; margins trimmed; cleaned. Leichtenstein-Hauslab Collection, 1951.

1st in suite of 4 engraved plates by Kleinschmidt and Friedrich after Rugendas and Wolff; 2 mounted and 1 dismounted soldiers, ruined building in background; title quote from Virgil's Aeneid below. Plate 2. 1st in suite of 4 engraved plates by Kleinschmidt and Friedrich after Rugendas and Wolff; 2 mounted and 1 dismounted soldiers, ruined building in background; title quote from Virgil's Aeneid below. Plate 2. Folio, unbound; in maroon cloth portfolio, red leather label stamped gold " G.P. Rugendas. Cavalry scenes, c. 1750." Hamburg, Helmut Gerhard Schulz, 1952.

Hand-colored engraved diagram map of encampments, battle-lines etc. with figure of Austrian soldier about to thrust his sword into Turkish soldier, adorning title. Hand-colored engraved diagram map of encampments, battle-lines etc. with figure of Austrian soldier about to thrust his sword into Turkish soldier, adorning title. Oblong folio; margins trimmed; creased, slightly soiled; from Leichtenstein-Hauslab Collection. N.Y., Rockman Prints, 1954.

Original sketch in black and brown ink, signed and dated by Stevenson; 3 soldiers beside table in cabin or bunk room, stove or heater on floor at right. Original sketch in black and brown ink, signed and dated by Stevenson; 3 soldiers beside table in cabin or bunk room, stove or heater on floor at right. 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.

Original oil painting, signed by Day; soldier in long coat and helmet standing in rain on muddy road, reading letter; low bridge and church in background. Original oil painting, signed by Day; soldier in long coat and helmet standing in rain on muddy road, reading letter; low bridge and church in background. Upright folio, matted; no margins; clean.

Lithograph by Bufford; soldier groups cooking over fires, outdoors, ambulance horses and wagon drawn up at left, late evening. Lithograph by Bufford; soldier groups cooking over fires, outdoors, ambulance horses and wagon drawn up at left, late evening. Oblong, one of 2 prints; margins slightly trimmed; slightly creased, clean. N.Y., Rockman Prints, 1961.

One of a pair of hand colored engravings, by Antonio Poggioli, Giuseppe Angeli after Beys; fleet of transport ships ready to leave harbor, men and women in numerous small boats in foreground, city in distance at left. One of a pair of hand colored engravings, by Antonio Poggioli, Giuseppe Angeli after Beys; fleet of transport ships ready to leave harbor, men and women in numerous small boats in foreground, city in distance at left. Large oblong folio, matted; plate mark, margins; clean. London, Parker Gallery, 1954.

Using scatological imagery (a favorite theme of Gillrays, and of many other satirists), Gillray makes a visual pun on the word "evacuation." Here, Addington is forced to squat, bare bottomed, over a hat into which he evacuates "Egypt," "Malta," "The Cape of Good Hope," "Guadeloupe," and "Martinique." Standing in front of Addington, Napoleon grasps Addington's necktie and threatens him with his raised sword. A French officer (Andréossi?) reaches into the frame to hold a black hat under Addington's bared bottom. According to George, Addington's pleas and fear of "getting turned out" reflect the English reluctance to evacuate Malta. Also within this speech, Addington expressed his fear that he may not be able to provide for his large family if turned out; this is a comment on his nepotism. Napoleon is represented as "Little Boney." His features are deeply shadowed and ragged, matched by the sharp and angular lines of his ornate uniform. Addington is likewise rendered as an angular figure, yet compared to Napoleon and to the French officer, he is a giant. This feature adds to the comedy of his subjugation to Napoleon's treatment. The method of engraving is one that bears mentioning here. In addition to making smooth incisions, Gillray has chosen to use a tool that makes soft, pebbled lines resembling aquatint. This technique approximates the appearance soft ground etching, or of chalk drawings. Moreover, the coloring process, which pays specific attention to creases and shadows, contributes to the sense that this engraving is taking after watercolor sketches or drawings in colored chalk. Using scatological imagery (a favorite theme of Gillrays, and of many other satirists), Gillray makes a visual pun on the word "evacuation." Here, Addington is forced to squat, bare bottomed, over a hat into which he evacuates "Egypt," "Malta," "The Cape of Good Hope," "Guadeloupe," and "Martinique." Standing in front of Addington, Napoleon grasps Addington's necktie and threatens him with his raised sword. A French officer (Andréossi?) reaches into the frame to hold a black hat under Addington's bared bottom. According to George, Addington's pleas and fear of "getting turned out" reflect the English reluctance to evacuate Malta. Also within this speech, Addington expressed his fear that he may not be able to provide for his large family if turned out; this is a comment on his nepotism. Napoleon is represented as "Little Boney." His features are deeply shadowed and ragged, matched by the sharp and angular lines of his ornate uniform. Addington is likewise rendered as an angular figure, yet compared to Napoleon and to the French officer, he is a giant. This feature adds to the comedy of his subjugation to Napoleon's treatment. The method of engraving is one that bears mentioning here. In addition to making smooth incisions, Gillray has chosen to use a tool that makes soft, pebbled lines resembling aquatint. This technique approximates the appearance soft ground etching, or of chalk drawings. Moreover, the coloring process, which pays specific attention to creases and shadows, contributes to the sense that this engraving is taking after watercolor sketches or drawings in colored chalk. Published by H. Humphrey, St. James Street, 9 February, 1803. Although this print is not signed by Gillray, it is securely attributed to his hand. Caption: Pubd. Feb. 9th 1803 by H. Humphrey St James Street Dialogue: Napoleon: "All!-All!-you Jean F_t_e!!--and think yourself well off that I leave you Great Britain!!!" Dialogue: Addington: "Pray do not insist upon Malta! I shall certainly be turned out! and I have got a great many Cousins, and Uncles & Aunts to provide for yet!" Dialogue: French Officer: "My General you had better not get him turned out-for we shall not be able to humbug them anymore."

Hand-colored engraved caricature plate by Dent published March 22, 1793; British soldiers feeding three local men poised on a wall defecating at the French army which is being hit by the 'missiles'. A fallen French officer exclaims: "Oh! Curse your British Balls and Second hand Gin - it's all up with me - I shant be able to keep my engagements - no glorious Luncheon at Amsterdam nor victorious Feast at London - oh! the Devil Dam the rude Boors for stopping me in my way!" A British officer on the right commands: "Fire away Mynheer - my men shall back you and take care of your Breeches." One of his men asks: "What would the half starved San Coluttes say to such Ammunition." Hand-colored engraved caricature plate by Dent published March 22, 1793; British soldiers feeding three local men poised on a wall defecating at the French army which is being hit by the 'missiles'. A fallen French officer exclaims: "Oh! Curse your British Balls and Second hand Gin - it's all up with me - I shant be able to keep my engagements - no glorious Luncheon at Amsterdam nor victorious Feast at London - oh! the Devil Dam the rude Boors for stopping me in my way!" A British officer on the right commands: "Fire away Mynheer - my men shall back you and take care of your Breeches." One of his men asks: "What would the half starved San Coluttes say to such Ammunition." A satire on the evacuation of the Netherlands by the French after the defeat at Neewinden. This was not a fight but the result of an informal armistice on March 1793 between General Dumouriez and the Prince of Coburg Oblong medium folio. New York, Michael Weintraub, 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/)

Original unsigned watercolor by Simon; three women carrying belongings, fleeing toward left past ruined building; boy carrying load on stick in right background. Original unsigned watercolor by Simon; three women carrying belongings, fleeing toward left past ruined building; boy carrying load on stick in right background. Oblong folio, matted; no margins; clean.

Hand-colored aquatint by Mechel (after Ludwig Friedrich Kaiser?). 'View from the bank on which French troops board three boats with weapons, baggage and ammunition to defend the Bridgehead; other boats cross the Rhine to embark on the Bridgehead; the village of Halingen lies to the left of the embarking area and the village of Ettlingen lies further left and up the hill; two soldiers drinking in the foreground.' -- British Museum Hand-colored aquatint by Mechel (after Ludwig Friedrich Kaiser?). 'View from the bank on which French troops board three boats with weapons, baggage and ammunition to defend the Bridgehead; other boats cross the Rhine to embark on the Bridgehead; the village of Halingen lies to the left of the embarking area and the village of Ettlingen lies further left and up the hill; two soldiers drinking in the foreground.' -- British Museum Oblong medium folio. Wuppertal, Schimidt & Green, 2015 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 wash drawing by Naudet; view of quay with ships anchored at left, troops marching from fortress at right and embarking in whaleboats, men and women spectators in foreground. Original wash drawing by Naudet; view of quay with ships anchored at left, troops marching from fortress at right and embarking in whaleboats, men and women spectators in foreground. Oblong folio; margins; slightly creased and spotted. Camden, Me., Staack, 1958.

Jas. King. Caption title. For piano. Wood-engraved cover illustration: George Washington in foreground, with horse and soldiers behind him. Advertisement on p. [4]: Listing of various household items. At foot of cover: "Presented by J.D. Walton & Co., 8th Ave. and 51st St., New York." "Price 40 cents"--cover.

One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. Small oblong folio, unbound, matted; soiled; from collection of Marquis de Chennevières, in maroon cloth clip-case, maroon leather label stamped gold "E. Lami. Allied Troops at Waterloo. Orig. Drawings." Title supplied by cataloger. Paris, Robert Prouté, 1964.

One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. Small oblong folio, unbound, matted, soiled; from collection of Marquis de Chennevières, in maroon cloth slip-case, maroon leather label stamped gold "E. Lami. Allied Troops at Waterloo. Orig. Drawings." Paris, Robert Prouté, 1964. Title supplied by cataloger.

One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. Small oblong folio, unbound, matted; soiled; from collection of Marquis de Chennevières; in maroon cloth slip-case, maroon leather label stamped gold "E. Lami. Allied Troops at Waterloo. Orig. Drawings". Title supplied by cataloger. Paris, Robert Prouté, 1964.

One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. Small oblong folio, unbound, matted; soiled, repaired tear, and small hold in upper right; from collection of Marquis de Chennevières; in maroon cloth clip-case, maroon leather label stamped gold "E. Lami. Allied Troops at Waterloo. Orig. Drawings." Title supplied by cataloger. Paris, Robert Prouté, 1964.

One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. Small oblong folio, unbound, matted; soiled; from collection of Marquis de Chennevières; in maroon cloth slip-case, maroon leather label stamped gold "E. Lami. Allied Troops at Waterloo. Orig. Drawings." Title supplied by cataloger. Paris, Robert Prouté, 1964.

One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. Small oblong folio, unbound, matted, soiled; from collection of Marquis de Chennevières; in maroon cloth slip-case, maroon leather label stamped gold "E. Lami. Allied Troops at Waterloo. Orig. Drawings." Title supplied by cataloger. Paris, Robert Prouté, 1964.

One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. One of a suite of 7 unsigned pencil drawings (by Lami) of uniform groups, officer and soldier types, outdoors, showing Prussian, English, Dutch, Austrian, Russian infantry and cavalry. Small oblong folio, unbound, matted; soiled; from collection of Marquis de Chennevières, in maroon cloth slip-case, maroon leather label stamped gold "E. Lami. Allied Troops at Waterloo. Orig. Drawings." Title supplied by cataloger. Paris, Robert Prouté, 1964.

Sheet of original sepia sketches by E. Detaille; uniform figures and military types, French, German, Austrian, Algerian. Sheet of original sepia sketches by E. Detaille; uniform figures and military types, French, German, Austrian, Algerian. Small oblong folio, matted; margins; clean. Title supplied by cataloger. Paris, Cart, 1956.

Chromolithograph sheet with 12 illustrations of personages, chiefly in uniform, as follows: The Queen Victoria, Louis Napoleon, The King of Sardinia, The Czar, General Pelissier, Lord Cardigan, Lord Raglan, Omer Pacha, Duke of Cambridge, General Canrobert, Sir Collin Campbell, The Sultan. Chromolithograph sheet with 12 illustrations of personages, chiefly in uniform, as follows: The Queen Victoria, Louis Napoleon, The King of Sardinia, The Czar, General Pelissier, Lord Cardigan, Lord Raglan, Omer Pacha, Duke of Cambridge, General Canrobert, Sir Collin Campbell, The Sultan. Oblong; margins; clean. Title supplied by cataloger. N.Y., Rockman Prints, 1958.

Pencil drawing of full-length portrait of officer looking left. Pencil drawing of full-length portrait of officer looking left. Upright folio.

Original unsigned and partly unfinished pencil and watercolor sketch; numerous small figures showing military uniforms of France, Prussia, Switzerland, Belgium etc. and some peasant types including women, pencil outlines of others. Original unsigned and partly unfinished pencil and watercolor sketch; numerous small figures showing military uniforms of France, Prussia, Switzerland, Belgium etc. and some peasant types including women, pencil outlines of others. Small oblong folio, matted; no margins; clean. Vienna, Nebehay, 1952. Title supplied by cataloger