Tinted engraved plate with 12 illustrations of orders, each with short explanatory text. Tinted engraved plate with 12 illustrations of orders, each with short explanatory text. Large upright folio, mounted on white paper; narrow margins; foxed, creased. Camden, Me., Staack, 1955.
A depiction of the opening of the Russian-Polish campaign of 1831 in an engraved imagerie plate A depiction of the opening of the Russian-Polish campaign of 1831 in an engraved imagerie plate
20th in collection of 102 hand-colored (except for 3) engraved plates by Campe; Napoleon and staff at left, observing French army crossing bridge, cavalry wading river. 20th in collection of 102 hand-colored (except for 3) engraved plates by Campe; Napoleon and staff at left, observing French army crossing bridge, cavalry wading river. Small oblong folio and medium folio, unbound; in blue cloth portfolio, red cloth label stamped black.
Engraving numbered 27; soldiers attacking with ladders and petards the portals and walls of a city defended by Turks. Engraving numbered 27; soldiers attacking with ladders and petards the portals and walls of a city defended by Turks. Oblong medium folio; margins severely trimmed; slightly soiled and creased. N.Y., Rockman Prints, 1962.
13th in collection of 22 hand-colored and 3 uncolored unnumbered engraved imagerie plates of war scenes; battle scene outside village, Russian infantry and mounted Cossacks attacking Turks in right background, cannons behind gabions on hillside. 13th in collection of 22 hand-colored and 3 uncolored unnumbered engraved imagerie plates of war scenes; battle scene outside village, Russian infantry and mounted Cossacks attacking Turks in right background, cannons behind gabions on hillside. Small oblong folio; margins severely trimmed on 11; clean; matted and in maroon cloth case, folio, maroon leather backstrip label stamped gold.
Engraving printed by Robyn; equestrian portrait in military costume, facing right, violent battle and bombardment of Vienna in background. Engraving printed by Robyn; equestrian portrait in military costume, facing right, violent battle and bombardment of Vienna in background. Large upright folio, matted; plate mark, margins trimmed close; text of both sides absent. Leichtenstein-Huaslab Collection, 1951.
Nineteenth in collection of 21 engraved plates (by and after Boener) of equestrian military portraits; No. 26, mounted general, holding baton, facing left, looking back toward right. Nineteenth in collection of 21 engraved plates (by and after Boener) of equestrian military portraits; No. 26, mounted general, holding baton, facing left, looking back toward right. Small, unbound; in red cloth portfolio case, maroon leather label stAMPED gold "Alex. Boener. Commanders of the Turkish War, 1683". Leichtenstein-Hauslab Collection, 1951. series title provided by cataloger
Lithograph by Julius Giere after L'Allemand, 1840; bust portrait in uniform. Lithograph by Julius Giere after L'Allemand, 1840; bust portrait in uniform. Upright folio, mounted on white paper; margins and mount intact; clean. New York, Rockman Prints, 1948.
Lithograph by Jentzen after Kröger, printed by Sachse; bust portrait in uniform. Lithograph by Jentzen after Kröger, printed by Sachse; bust portrait in uniform. Upright folio; margins trimmed; some creases. New York, Rockman Prints, 1954.
Wood-engraving by Obermüller; profile bust in uniform, facing left. Wood-engraving by Obermüller; profile bust in uniform, facing left. Small upright folio, mounted on tan paper; margins intact; clean. New York, Rockman Prints, 1960.
10th in collection of 11 copper-engraved military portraits by Schenck; full-length figure with curled wig, lace tie, sash, and embroidered jacket holding a plumed hat under left arm and a cane in left hand 10th in collection of 11 copper-engraved military portraits by Schenck; full-length figure with curled wig, lace tie, sash, and embroidered jacket holding a plumed hat under left arm and a cane in left hand Small, unbound; in maroon cloth portfolio case, red leather label stamped gold; clean.
Line-engraving by Robertus van Voerst after van Dyck; half-length portrait in armor. Line-engraving by Robertus van Voerst after van Dyck; half-length portrait in armor. Upright; margins trimmed very close; soiled. New York, Rockman Prints, 1954.
Tinted lithograph by and after Legrand, printed by Donon, from series Reyes Contemporáneos; full-length portrait in hussar uniform, city in distance. Tinted lithograph by and after Legrand, printed by Donon, from series Reyes Contemporáneos; full-length portrait in hussar uniform, city in distance. Upright; margins. New York, Rockman Prints, 1964.
Engraving; full-length portrait, outdoors, in military costume, battle and explosions in background, arms in upper right corner. Engraving; full-length portrait, outdoors, in military costume, battle and explosions in background, arms in upper right corner. Small upright folio, matted folio; plate mark, margins intact, cleaned. Liechtenstein-Hauslaub Collection, 1951.
Tinted lithograph by and after Ulffers; 37 oval bust military portraits of German rulers and generals, in enframement with 2 soldier groups at sides, arms above. Tinted lithograph by and after Ulffers; 37 oval bust military portraits of German rulers and generals, in enframement with 2 soldier groups at sides, arms above. Oblong folio; margins intact; clean, repaired tear. Brussels, A. Elebaut, 1955.
Color lithograph by and after Kollarz, printed by Zamarski; 3 oval bust portraits of Admiral Tegethoff, Archduke Albrecht, Crown Prince Albert of Saxony, allegorical and peasant figures above, 4 illustrations of military scenes at right and left. Color lithograph by and after Kollarz, printed by Zamarski; 3 oval bust portraits of Admiral Tegethoff, Archduke Albrecht, Crown Prince Albert of Saxony, allegorical and peasant figures above, 4 illustrations of military scenes at right and left. Oblong folio; margins intact; clean. Vienna, Christian Nebehay, 1956.
Colored lithograph by Trentsensky; composite of 9 vignettes, of which 6 are uniform figures and 3 are military scenes. Colored lithograph by Trentsensky; composite of 9 vignettes, of which 6 are uniform figures and 3 are military scenes. Upright folio; margins intact; slightly soiled and foxed in margins.
2nd of pair of lithographs by and after Gerasch; colored composite; 7 vignettes of Austrian and Italian military groups and types, 4 showing uniforms. 2nd of pair of lithographs by and after Gerasch; colored composite; 7 vignettes of Austrian and Italian military groups and types, 4 showing uniforms. Upright folio, 2 prints [cf. AuP1848f-1a]; margins intact. Vienna, Christian Nebehay, 1953.
1st of pair of lithographs by and after Gerasch; tinted composite; 12 vignettes of Austrian and Italian military groups and types. 1st of pair of lithographs by and after Gerasch; tinted composite; 12 vignettes of Austrian and Italian military groups and types. Upright folio, 2 prints [cf. AuP1848f-1b]; margins intact. Vienna, Christian Nebehay, 1953.
Color lithograph by and after Albrecht & Gerhart; central illustration of wedding of Franz Josef and Elisabeth of Bavaria with sculptural and allegorical enframement surmounted by bust portraits of the pair and otherwise surrounded by illustration of historical scenes and views, arms etc. Color lithograph by and after Albrecht & Gerhart; central illustration of wedding of Franz Josef and Elisabeth of Bavaria with sculptural and allegorical enframement surmounted by bust portraits of the pair and otherwise surrounded by illustration of historical scenes and views, arms etc. Large oblong folio; margins trimmed; inconspicuous repaired tear. Vienna, Christian Nebehay, 1954.
Original watercolor signed and dated by Diez; stout invalid veteran in uniform walking in park, saluting with left hand, walking-stick in right hand. Original watercolor signed and dated by Diez; stout invalid veteran in uniform walking in park, saluting with left hand, walking-stick in right hand. Medium upright folio; no margins; slightly foxed and soiled. New York, Walter Schatzki, 1954.
Chromolithograph by V. Katzler after Franceschini; central oval illustration of battle scene surrounded by architectural enframement with banners, trophies etc. and with oval bust portrait of Franz Josef and 2 figures of soldiers etc. above; legend in Hungarian, German and Italian below. Chromolithograph by V. Katzler after Franceschini; central oval illustration of battle scene surrounded by architectural enframement with banners, trophies etc. and with oval bust portrait of Franz Josef and 2 figures of soldiers etc. above; legend in Hungarian, German and Italian below. Upright folio, matted; margins intact. Leichtenstein-Hauslab Collection, 1951.
Unsigned original (slightly crude) watercolor; equestrian portrait in uniform with sword upraised, riding towards left, hussars charging and artillery in action in background, arms with putto and lion etc. at bottom. Unsigned original (slightly crude) watercolor; equestrian portrait in uniform with sword upraised, riding towards left, hussars charging and artillery in action in background, arms with putto and lion etc. at bottom. Upright folio, matted; no margins; slight foxing. Camden, Me., Staack, 1960.
Lithograph by and after Montais, printed by Simonau; bust portrait in Garde Civique uniform and shako. Lithograph by and after Montais, printed by Simonau; bust portrait in Garde Civique uniform and shako. Upright medium folio, matted; margins trimmed; tellowed, stained, torn. N.Y., Rockman Prints, 1962.
Sepia photogravure by Bruckmann after von Moy; sentry in street outside military headquarters presenting arms at approach of officer and lady. Sepia photogravure by Bruckmann after von Moy; sentry in street outside military headquarters presenting arms at approach of officer and lady. Upright medium folio; plate mark, margins intact; slightly soiled. N.Y., Walter Schatzki, 1952.
4th of 7 copper-engravings by and after Fridrich, of soldiers (in Latin and German); mounted officer holding baton in foreground, leading 4 cavalrymen in right background; 3 smaller figures of mounted troops in left background. 4th of 7 copper-engravings by and after Fridrich, of soldiers (in Latin and German); mounted officer holding baton in foreground, leading 4 cavalrymen in right background; 3 smaller figures of mounted troops in left background. Small, unbound; in red cloth slipcase, white leather label stamped gold "J.A. Fridrich. Hungarian troops. 1744"; title-page soiled, yellowed. Leichtenstein-Hauslab Collection, 1951.
3rd of 7 copper-engravings by and after Fridrich, of soldiers (in Latin and German); mounted officer in hussar uniform, holding baton, in foreground; staff and cavalry in background. 3rd of 7 copper-engravings by and after Fridrich, of soldiers (in Latin and German); mounted officer in hussar uniform, holding baton, in foreground; staff and cavalry in background. Small, unbound; in red cloth slipcase, white leather label stamped gold "J.A. Fridrich. Hungarian troops. 1744"; title-page soiled yellowed. Leichtenstein-Hauslab Collection, 1951.
Lithograph by and after Kriehuber; group portrait of 20 mounted and dismounted cavalry officers, outdoors, building in right background. Lithograph by and after Kriehuber; group portrait of 20 mounted and dismounted cavalry officers, outdoors, building in right background. Giant oblong folio; margins intact; creased. Vienna, Christian Nebehay, 1974.
Hand-colored etched caricature, published Augt. 7th, 1822; 2 stout and grotesque men in kilted uniforms. This satirizes the visit of George IV to Edinburgh in 1822 organized by Sir Walter Scott. The figures represent the King and Sir William Curtis, Lord Mayor of London. This was an important step in making it acceptable to once again wear tartan which had been banned following the Battle of Culloden in 1746. Hand-colored etched caricature, published Augt. 7th, 1822; 2 stout and grotesque men in kilted uniforms. This satirizes the visit of George IV to Edinburgh in 1822 organized by Sir Walter Scott. The figures represent the King and Sir William Curtis, Lord Mayor of London. This was an important step in making it acceptable to once again wear tartan which had been banned following the Battle of Culloden in 1746. Oblong medium folio, matted; margins severely trimmed; yellowed. London, Parker, Gallery, 1951.
Original pen and ink sketch, signed and dated by Stevenson, of a train yard, trucks and a ship at the dock. Notation on back indicates that equipment pours into the docks day and night. Original pen and ink sketch, signed and dated by Stevenson, of a train yard, trucks and a ship at the dock. Notation on back indicates that equipment pours into the docks day and night. 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.
