Hand-colored etched caricature; woman (Mrs. Clarke), obese old doctor (Jeremiah Donovan) and thin elderly army officer (Captain Tuck) seated, discussing business, memoranda, ledger etc. on floor at left, portrait of Prince Frederick behind drapery at upper left. Hand-colored etched caricature; woman (Mrs. Clarke), obese old doctor (Jeremiah Donovan) and thin elderly army officer (Captain Tuck) seated, discussing business, memoranda, ledger etc. on floor at left, portrait of Prince Frederick behind drapery at upper left. Oblong medium folio; margins trimmed; yellowed. N.Y., Walter Schatzki, 1971.

Engraving (by De Rossi?). 'Birds-eye view print shows fortress and view of the city of Nitra (Slovakia) on the hill in the background. In the middle ground rises another hill. In the foreground, above the scene are gathered soldiers on the right, a man on horseback next to a tree stump while a man standing points off to his right toward the valley below. On the left side of the foreground, cavalry forces have gathered. Some soldiers and cavalry are also visible on the field below' -- Library of Congress. Engraving (by De Rossi?). 'Birds-eye view print shows fortress and view of the city of Nitra (Slovakia) on the hill in the background. In the middle ground rises another hill. In the foreground, above the scene are gathered soldiers on the right, a man on horseback next to a tree stump while a man standing points off to his right toward the valley below. On the left side of the foreground, cavalry forces have gathered. Some soldiers and cavalry are also visible on the field below' -- Library of Congress. Oblong folio; margins intact; creased. From 'Historia de Leopoldo Cesare', by Gualdo Priorato, part two (Vienna, 1670).

Etching by Flaman; 'View of the Militia on the occasion of the triumphal entry of Louis XIV in 1660 in Paris, tens of regiments of soldiers standing in a field, a horse carriage in the lower left corner, more troops arriving in the lower right corner, Paris in the background, a banderole in the top center with an inscription; the different regiments in the composition are marked by the numbers 1-26, explained in a French key in the lower margin' -- British Museum Etching by Flaman; 'View of the Militia on the occasion of the triumphal entry of Louis XIV in 1660 in Paris, tens of regiments of soldiers standing in a field, a horse carriage in the lower left corner, more troops arriving in the lower right corner, Paris in the background, a banderole in the top center with an inscription; the different regiments in the composition are marked by the numbers 1-26, explained in a French key in the lower margin' -- British Museum Oblong folio; margins severely trimmed; clean. Liechtenstein-Hauslab Collection, 1951

Colored caricature plate after Villon from magazine, dated 1901 by artist; soldiers in uniform-supply room. Colored caricature plate after Villon from magazine, dated 1901 by artist; soldiers in uniform-supply room. Small upright folio, matted; margins intact; slightly yellowed. title: Dispensé (Article 23). --Ah qu'il est doux de ne rein faire... number: 728 printed signature: Jacques Villon 01fd caption: L'ASSIETTE AU BEURRE

Hand colored etched caricature after Rowlandson; sailor holding a drink while sitting on lap of women and fondling the breast of another, in tavern, two fiddlers at left, dogs, barmaid at right. Hand colored etched caricature after Rowlandson; sailor holding a drink while sitting on lap of women and fondling the breast of another, in tavern, two fiddlers at left, dogs, barmaid at right. Upright folio, matted; plate mark, margins intact; margins soiled. Jamestown, R.I., North, 1954.

Label on back of painting: "In the motor pool of an armored division training in southern England, the motorcycles and their riders stand before the dispatcher's tent, ready to carry messages to any of the subordinate units of the division." Label on back of painting: "In the motor pool of an armored division training in southern England, the motorcycles and their riders stand before the dispatcher's tent, ready to carry messages to any of the subordinate units of the division." Gold was inducted into the U.S. Army in May 1942, and was selected by the War Department Art Advisory Committee to serve as a war artist in Europe. Assigned to the Historical Branch, ETO, he traveled through the United Kingdom, France and Germany. His work also appeared in Yank magazine.

One of a collection of 3 plates by and after Klein; unsigned etching of 3 dismounted hussars standing near horses. One of a collection of 3 plates by and after Klein; unsigned etching of 3 dismounted hussars standing near horses. Small oblong, in oblong folio album of red cloth, white leather label stamped gold; clean.

Color lithograph by Raffet; cossack beside wounded horse, drawing sword. Color lithograph by Raffet; cossack beside wounded horse, drawing sword. Small square; margins; yellowed; creased. London, Spencer, 1953.

French soldier dismantling gun while two others guard him. Charcoal drawing signed and dated lower right L. Jonas 1917. French soldier dismantling gun while two others guard him. Charcoal drawing signed and dated lower right L. Jonas 1917. Oblong folio.

Plan of the fortress of Longone; the fortress on a hill on the coast at the center, with various military encampments and formations in the middle ground; military figures on horseback at lower right and ships at sea behind to left Plan of the fortress of Longone; the fortress on a hill on the coast at the center, with various military encampments and formations in the middle ground; military figures on horseback at lower right and ships at sea behind to left Large oblong folio; margins worn; stains. New York, Rockman Prints, 1954. Lettered within image with title: dedication to the Count of Ognat: "All'lllmo & Eccmo Sigr ll Sr. Conte d'Ognar & ViceRe, & Capno Gnle: di S. Maesta el Regno di Napoli. Stefano della Bella, in segno della sua devozione dona, e dedica"

Engraving by Duperac after Lafréry; an elevated view of a joust held on Monday, March 5, 1565 in the Belvedere courtyard of the Vatican organized as part of the celebrations for the marriage of Annibale Altemps and Ortensia Borromeo. Spectators watch from the theatre hemicyle, the palace balconies, and the colossal steps at the northern end of the courtyard. Fireworks erupt in the background from a loggia above the 'Nicchione'. Published by Antonio Lafreri in Salamanca's 'Speculum Romanæ Magnificentiæ' in 1565. Engraving by Duperac after Lafréry; an elevated view of a joust held on Monday, March 5, 1565 in the Belvedere courtyard of the Vatican organized as part of the celebrations for the marriage of Annibale Altemps and Ortensia Borromeo. Spectators watch from the theatre hemicyle, the palace balconies, and the colossal steps at the northern end of the courtyard. Fireworks erupt in the background from a loggia above the 'Nicchione'. Published by Antonio Lafreri in Salamanca's 'Speculum Romanæ Magnificentiæ' in 1565. Large upright folio, matted; margins entirely trimmed away; clean. Leichtenstein-Hauslab Collection, 1951.

4th in collection of 12 mounted lithographic caricatures; French soldier reading to children at his feet, wife looking over shoulder, dog underfoot, tent flaps and hanging socks in background. 4th in collection of 12 mounted lithographic caricatures; French soldier reading to children at his feet, wife looking over shoulder, dog underfoot, tent flaps and hanging socks in background. Small square folio, glued to larger backing sheet; margins trimmed; clean; in blue cloth portfolio, red leather label stamped gold, "Charlet, Miscellaneous Lithographs." Paris, Duchartre, 1958

Hand-colored engraved caricature by and after Marks; small colonel berating very tall grenadier, drummer at right, other soldier figures in background. Hand-colored engraved caricature by and after Marks; small colonel berating very tall grenadier, drummer at right, other soldier figures in background. Upright, matted; margins trimmed; foxing. N.Y., Rockman Prints, 1950.

10th in collection of 12 chromolithograph prints or posters; caricature showing giant figure of John Bull, with purse and moneybags, being robbed by tiny figures of Japanese soldiers, officers looking on, ships in bay in background; text in verse below. 10th in collection of 12 chromolithograph prints or posters; caricature showing giant figure of John Bull, with purse and moneybags, being robbed by tiny figures of Japanese soldiers, officers looking on, ships in bay in background; text in verse below. Large oblong and upright folio, matted; edges repaired. London, Francis Edwards, 1967. text and title in Russian; translation by cataloger

One of a pair of mezzotint plates after Rugendas, engraved by Johann Christian Leopold, showing combat between Austrians and Turks. One of a pair of mezzotint plates after Rugendas, engraved by Johann Christian Leopold, showing combat between Austrians and Turks. Large oblong folio; plate mark, margins trimmed; slightly stained. Leichtenstein-Hauslab Collection, 1951.

One of a collection of 12 mounted original watercolor drawings in an album of official costume, presumably after Grasset de Saint-Sauveur. Figure in red and white with plumed hat. One of a collection of 12 mounted original watercolor drawings in an album of official costume, presumably after Grasset de Saint-Sauveur. Figure in red and white with plumed hat. Oblong; yellowed; marble boards, calf backstrip; front cover loose, re-backed with green morocco stamped gold. London, Beauchamp, 1955.

1 page of text giving directions for the use of The Protean Figure 1 page of text giving directions for the use of The Protean Figure Small oblong folio. London, Parker Gallery, 1951 Directions for Exhibiting The Protean Figure, In its Different Costumes, 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/)

14th in set of 100 numbered signed watercolors of uniform figures by Boisselier; standing figure of marine officer in blue coat, white trousers, cocked hat, with hand on hip, holding cane, looking toward right. 14th in set of 100 numbered signed watercolors of uniform figures by Boisselier; standing figure of marine officer in blue coat, white trousers, cocked hat, with hand on hip, holding cane, looking toward right. 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.

2nd in collection of 6 colored and uncolored lithographic caricatures; partly colored lithograph showing Allied commanders seated around table and eating soldiers, figure of Devil nearby, Russians cooking soldiers in foreground. 2nd in collection of 6 colored and uncolored lithographic caricatures; partly colored lithograph showing Allied commanders seated around table and eating soldiers, figure of Devil nearby, Russians cooking soldiers in foreground. Upright and oblong folio and small folio; margins intact; soiled. New York, Rockman Prints, 1958. original title in Russian, translated by cataloger

3rd of 4 tinted lithograph plates from book (Narrative of the Expedition of an American Squadron... by F.L. Hawks et al.); scene of feast in banquet hall set up below deck of ship, amidst large cannons, U.S. flags in foreground. 3rd of 4 tinted lithograph plates from book (Narrative of the Expedition of an American Squadron... by F.L. Hawks et al.); scene of feast in banquet hall set up below deck of ship, amidst large cannons, U.S. flags in foreground. Small oblong folio, matted; margins. New York, Harry H. Hymes, 1946.

Original pencil sketch, signed and dated by Murphy, of the American Embassy dining room in Tokyo. Notations as to the color of the rug, walls, candles, etc. Original pencil sketch, signed and dated by Murphy, of the American Embassy dining room in Tokyo. Notations as to the color of the rug, walls, candles, etc. Murphy joined the New York 7th Regiment in 1940 and trained at Camp Stewart, Georgia. He sailed to Australia in 1943 and served on General MacArthur's staff. Later he went to New Guinea and the Philippines before moving on to Japan following the surrender.

Original watercolor signed by (Cecil?) Harcourt Smith; standing uniform figure of officer of the Dillon regiment, with spontoon. Original watercolor signed by (Cecil?) Harcourt Smith; standing uniform figure of officer of the Dillon regiment, with spontoon. Narrow small upright folio, matted; margins; clean. London, Parker Gallery, 1972.

Original pen and ink and wash sketch of soldiers digging holes, others around, body in right foreground Original pen and ink and wash sketch of soldiers digging holes, others around, body in right foreground Title from ink label affixed to verso. Continues: 'A body lays covered with a poncho beside three marines concerned only with their protection in the hole they're digging. The sand in the background is just settling back to the earth after being blasted up by mortar fire'. 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.

Stipple-engraving; child figure of King of Rome, in miniature uniform of Garde Nationale, praying before religious shrine. Stipple-engraving; child figure of King of Rome, in miniature uniform of Garde Nationale, praying before religious shrine. Upright, matted; plate mark, margins trimmed; edges soiled. title: Dieu, Mon Père et Mon Innocence

This image links Napoleon's rule to divine protection and is clearly not a satire or a caricature. Instead, this image glorifies Napoleon. Solar rays emanate from God, the central figure of the image. He puts his arms around Napoleon (left) and the Pope (right) who flank him on either side. The group is seated on a cloud bank that is supported on the outstretched wings of a large eagle. Given the subject matter of the image, it was likely created in celebration of Napoleon's coronation in 1803. The sun iconography and the eagle are both imperial symbols--the sun having specific importance in the French monarchic tradition. The image also implies that Napoleon had the earthly approval of the Pope, which further suggests dating the image to the time shortly after Napoleon's coronation. This image links Napoleon's rule to divine protection and is clearly not a satire or a caricature. Instead, this image glorifies Napoleon. Solar rays emanate from God, the central figure of the image. He puts his arms around Napoleon (left) and the Pope (right) who flank him on either side. The group is seated on a cloud bank that is supported on the outstretched wings of a large eagle. Given the subject matter of the image, it was likely created in celebration of Napoleon's coronation in 1803. The sun iconography and the eagle are both imperial symbols--the sun having specific importance in the French monarchic tradition. The image also implies that Napoleon had the earthly approval of the Pope, which further suggests dating the image to the time shortly after Napoleon's coronation. This print is not dated or signed. Caption: Dépôsé à la Bibliothèque Annotation: nt Collector's Mark: 'S' and 'J' intertwined inside a circle

Copper engraving by and after Nicol: Ulrich Cranach, R.K.M. Hauptman; seated artilleryman at left, cannon, petard etc. nearby. Name on book refers to Franz der Marggraf von Coretto und Savona (1593-1651), an Austrian War Councillor under Emperor Ferdinand III. Copper engraving by and after Nicol: Ulrich Cranach, R.K.M. Hauptman; seated artilleryman at left, cannon, petard etc. nearby. Name on book refers to Franz der Marggraf von Coretto und Savona (1593-1651), an Austrian War Councillor under Emperor Ferdinand III. Large oblong folio, matted; margins entirely trimmed away; cleaned. Leichtenstein-Hauslab Collection, 1951.

Broadley: 'There are two versions of [this plate]...In German, the expression 'to shoot a he-goat' means to make a mistake. Napoleon in his grey overcoat and cocked hat carries a heavy buck on his shoulders.' Broadley: 'There are two versions of [this plate]...In German, the expression 'to shoot a he-goat' means to make a mistake. Napoleon in his grey overcoat and cocked hat carries a heavy buck on his shoulders.'

Engraving by and after Karel van Sichem; half-length portrait in armor and helmet, right hand resting on book, halberd in left hand; in the background men and women walk through the streets screaming and naked. Depicts Diederick Snyder, the leader of a group of twelve Anabaptists who walked naked through Amsterdam in 1535, praying and proclaiming doom. Engraving by and after Karel van Sichem; half-length portrait in armor and helmet, right hand resting on book, halberd in left hand; in the background men and women walk through the streets screaming and naked. Depicts Diederick Snyder, the leader of a group of twelve Anabaptists who walked naked through Amsterdam in 1535, praying and proclaiming doom. Small upright, matted; margins severely trimmed; clean. New York, Rockman Prints, 1954.

Color lithograph print by Gerhart; 2 emperors, mounted, shaking hands, members of staffs in left and right backgrounds. Color lithograph print by Gerhart; 2 emperors, mounted, shaking hands, members of staffs in left and right backgrounds. Small oblong folio; margins trimmed; clean, repaired marginal tears. Vienna, Christian Nebehay, 1962.

Tinted lithograph by A. Pettenkofen after Schindler; soldiers and peasants at table outside inn, one reading news-sheet, dog lying in right foreground. Tinted lithograph by A. Pettenkofen after Schindler; soldiers and peasants at table outside inn, one reading news-sheet, dog lying in right foreground. Oblong folio; margins intact; margins soiled.