1st in set of 7 (of 10?) etchings by Bodenehr after Rugendas and Wolff; 3 mounted cavalrymen riding toward left; other soldiers and tent camp in background. 1st in set of 7 (of 10?) etchings by Bodenehr after Rugendas and Wolff; 3 mounted cavalrymen riding toward left; other soldiers and tent camp in background. Oblong, mounted on gray paper, medium folio; margins intact; some foxing in margins. In folio maroon cloth slipcase, red leather label stamped gold "G.P. Rugendas. Military scenes, c. 1710." Hamburg, Helmut Gerhard Schulz, 1952. title provided by cataloger

Color lithograph humorous plate; 3 lancers sitting around table in club or tavern and drinking, one apparently feeling sick. Color lithograph humorous plate; 3 lancers sitting around table in club or tavern and drinking, one apparently feeling sick. Small oblong folio, matted; margins entirely trimmed away; clean. N.Y., Rockman Prints, 1949. title supplied by cataloger

composed and dedicated to Capt. Creighton by T.J. Cook. For solo piano. Caption title. "The gallant conduct of Capt. Creighton of the ship "Three Bells", in risking his own life to save those of his fellow beings, on board of the ill-fated San Francisco, has won for him the admiration of the world, and made him the object of innumerable honours and eulogies"--Cf. title page Colored lithographic title page illustration: the ship Three Bells, the damaged San Francisco, and a port. of Capt. Creighton by Lith. of Sarony & Co. N.Y. Music engraved by Pearson Eng'r.--Cf. p. 6. Price: $.50.

Original watercolor drawing by Kobell; 3 mounted cuirassier officers with dog on sandy ledge overlooking military review taking place on plain in background with city in distance. [See also: Austrian cuirassier officers at review]. Original watercolor drawing by Kobell; 3 mounted cuirassier officers with dog on sandy ledge overlooking military review taking place on plain in background with city in distance. [See also: Austrian cuirassier officers at review]. Matted and framed in small folio; no margins; very fine. Leichtenstein-Hauslab Collection, 1951. Title supplied by cataloger

Group of figures standing on rise watching battle in distance, others in foreground talking, two soldiers carrying wounded comrade. Inscribed bottom right: VO Nov. 1868 Group of figures standing on rise watching battle in distance, others in foreground talking, two soldiers carrying wounded comrade. Inscribed bottom right: VO Nov. 1868 Oblong medium folio. Vienna, Boris Wilnitsky, 2017. 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 ink and watercolor drawing, signed by artist; 3 African-American soldiers, one holding scrolled paper, standing in front of platform loaded with duffel bags. Original ink and watercolor drawing, signed by artist; 3 African-American soldiers, one holding scrolled paper, standing in front of platform loaded with duffel bags. Oblong small folio; no margins; clean. title provided by cataloger

A buxom young woman frets over the possibility of a French invasion and clasps her hands in despair. An old crone, mending a dainty stocking, sits across from her and entertains worries over the consequences of the invasion. Unlike her younger counterpart, the crone seems to relish thoughts of being ravished, for her such an invasion is a business opportunity, and a perhaps a chance to relive her youthful exploits. Throughout the image, cats sleep and stretch at ease. These cats indicate that the satire is set in a brothel: the young woman is a prostitute and the crone a Madame. A buxom young woman frets over the possibility of a French invasion and clasps her hands in despair. An old crone, mending a dainty stocking, sits across from her and entertains worries over the consequences of the invasion. Unlike her younger counterpart, the crone seems to relish thoughts of being ravished, for her such an invasion is a business opportunity, and a perhaps a chance to relive her youthful exploits. Throughout the image, cats sleep and stretch at ease. These cats indicate that the satire is set in a brothel: the young woman is a prostitute and the crone a Madame. Published by Robert Ackermann, 1801-08-27. British Museum, BM 9725. This satire is not listed in Broadley. An image with the same title is included, but the artist and the publisher is Charles, not Cruikshank. This is one of the invasion plates published in the summer of 1801. George notes that the report published in 'the Moniteur of 21 June (quoted Times 25 June) was an invasion threat backed by ostentatious preparations at Boulogne, Dunkirk, &c., intended to influence the peace negotiations. In England counter preparations were made and the Invasion Orders of 1797 were revived.' Caption: Pubd at Ackermann's Galy 101 Strand London August 27, 1801 Dialogue: Young Woman: "Indeed Ma'am I can't sleep of a Night with thinking of it-shocking work-if they come they will certainly ruin us all- I do assure you I did not close a leg (an Eye I mean) at all last Night." Dialogue: Old Crone: "Why, really Miss you surprize me-Sure you don't say so--do you think they will ravish us all!! aye--lack a day--what not one single one escape--I hope however they will spare my Poor Cats."

Mezzotint by Hardy after Cranke; full-length portrait in uniform, standing beside horse, leaning against wall on which hat is placed. Mezzotint by Hardy after Cranke; full-length portrait in uniform, standing beside horse, leaning against wall on which hat is placed. Large upright folio, matted; margins severely trimmed; worn. From an original oil painting formerly in the collection (de-accessioned 1986); [See: Peter Harrington, 'Colonel Thomas Peter Legh, Lancashire Light Dragoons, c. 1795', Journal of the Society for Army Historical Research, Vol. LXV, No. 261, Spring 1987, pages 1-4.] London, Parker Gallery, 1956.

Color aquatint by and after Shepheard, published Octr. 25, 1810; soldiers breaking march at country tavern and guarding half-naked prisoner. Color aquatint by and after Shepheard, published Octr. 25, 1810; soldiers breaking march at country tavern and guarding half-naked prisoner. Oblong folio, matted; plate mark, margins; worn. N.Y., Rockman Prints, 1951.

One of a pair of color lithographs, numbered 4, printed by Pönicke; militia groups relaxing and drilling. Relates to an eruption of violence in Leipzig in September 1830 inspired by events in France. [See 'Urban Violence and the Modernization Process in Pre-March Saxony 1830-1831 and 1845' by Richard J. Bazillion, in Historical Reflections / Réflexions Historiques, Vol. 12, No. 2 (Summer 1985), pages 279-303]. [See also: Wache und Ablösung.] One of a pair of color lithographs, numbered 4, printed by Pönicke; militia groups relaxing and drilling. Relates to an eruption of violence in Leipzig in September 1830 inspired by events in France. [See 'Urban Violence and the Modernization Process in Pre-March Saxony 1830-1831 and 1845' by Richard J. Bazillion, in Historical Reflections / Réflexions Historiques, Vol. 12, No. 2 (Summer 1985), pages 279-303]. [See also: Wache und Ablösung.] Oblong folio; margins intact; soiled. N.Y., Walter Schatzki, 1955.

composed by B.A. Burditt, performed by the Boston Brigade Band. Cover lith. ill.: portrait of Col. Thompson standing in tent, view through the opening of an encampment near woods.

One of a collection of 14 mounted original crude watercolor drawings, dated January, 1847, but unsigned, of full-length military portraits, outdoor backgrounds. Figure in blue and red leaning forward to light fuse of canon. One of a collection of 14 mounted original crude watercolor drawings, dated January, 1847, but unsigned, of full-length military portraits, outdoor backgrounds. Figure in blue and red leaning forward to light fuse of canon. Unbound; in light blue cloth portfolio stamped gold; slightly worn; slightly foxed.

1 or 4 pen, ink and watercolor drawings on paper (by Baskerville); full-length figure in uniform looking left; after a watercolor by Robert Dighton, Sr. in the Royal Collection, London 1 or 4 pen, ink and watercolor drawings on paper (by Baskerville); full-length figure in uniform looking left; after a watercolor by Robert Dighton, Sr. in the Royal Collection, London Reference: A.E. Haswell-Miller and N.P. Dawney. Military Drawings and Paintings in the Royal Collection (1970), Vol. Two, No. 715, plate 264 Upright medium folio. London, Grosvenor Gallery, 2017 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/)

Etching; oval bust portrait in armor, scene of beheading in background. Etching; oval bust portrait in armor, scene of beheading in background. Upright; margins trimmed; clean. N.Y., Rockman Prints, 1961.

Original unsigned watercolor (by Bennett, Chelmsford); 3/4-length portrait in uniform, right hand on hip. Original unsigned watercolor (by Bennett, Chelmsford); 3/4-length portrait in uniform, right hand on hip. Gepp died on Feb. 12, 1858, of wounds sustained at the action at Charpura/Churpoorah during the Sepoy revolt. Title supplied by cataloger. London, Parker, 1964.

Sepia photograph of Col. Thomas N. Waul of the Confederate 1st Infantry Battalion, Texas Legion. Bust portrait of Waul, with white beard, seated in chair, hatless. Pencil notation on back: T N Waul. Sepia photograph of Col. Thomas N. Waul of the Confederate 1st Infantry Battalion, Texas Legion. Bust portrait of Waul, with white beard, seated in chair, hatless. Pencil notation on back: T N Waul. Upright small folio, faded.

Mezzotint by J. Smith after Closterman; 3/4-length portrait in armor, baton in hand, helmet at left. Mezzotint by J. Smith after Closterman; 3/4-length portrait in armor, baton in hand, helmet at left. Upright medium folio, matted; plate mark, margins trimmed close. London, Parker Gallery, 1955.

Steel-engraving by George E. Perine; bust portrait in uniform. Steel-engraving by George E. Perine; bust portrait in uniform. Upright; plate mark, margins; clean. N.Y., Argosy, 1954.

One of a collection of 10 carte-de-visite portraits by numerous photographers showing military officers and enlisted personnel, this one unsigned. Interior photograph of officer (Thomas H: CB.N.1) leaning against pillar, with left hand on hip and saber hanging from belt. One of a collection of 10 carte-de-visite portraits by numerous photographers showing military officers and enlisted personnel, this one unsigned. Interior photograph of officer (Thomas H: CB.N.1) leaning against pillar, with left hand on hip and saber hanging from belt. Upright carte-de-visite; clean. Title supplied from inscription.

Mezzotint by R. Houston after Hudson; 3/4-length portrait in uniform, outdoors, ship in right background. Mezzotint by R. Houston after Hudson; 3/4-length portrait in uniform, outdoors, ship in right background. Upright folio, matted; plate mark, margins trimmed close; clean. London, Parker Gallery, 1960.

Copper-engraving; equestrian portrait in uniform, carrying sword, gun and standard; battle in background. Long letterpress below image Copper-engraving; equestrian portrait in uniform, carrying sword, gun and standard; battle in background. Long letterpress below image Large upright folio, matted; margins trimmed; lower left corner torn and repaired. N.Y., Rockman Prints, 1948.

5th in suite of 10 wood-engraved plates; mounted officer on brown horse, and 5 pikemen in black and blue uniforms, moving toward right. From: 'Ordenliche Beschreibung des Christlichen, Hochlöblichen vnd Fürstlichen Beylags oder Hochzeit...', Wien, 1571, in honor of the wedding of Archduke Charles and Maria of Bavaria in 1571. 5th in suite of 10 wood-engraved plates; mounted officer on brown horse, and 5 pikemen in black and blue uniforms, moving toward right. From: 'Ordenliche Beschreibung des Christlichen, Hochlöblichen vnd Fürstlichen Beylags oder Hochzeit...', Wien, 1571, in honor of the wedding of Archduke Charles and Maria of Bavaria in 1571. Oblong folio, unbound; in red cloth slipcase, white leather label stamped gold. New York, H.P. Kraus, 1952.

Color aquatint by Hubert & Stadler after Lieut.-Col. John Irving, published January 1st 1802; view toward sea from ramparts of fort, town and harbor in middle distance, soldier and sailor in right foreground, black boy in left playing with cannon balls. Color aquatint by Hubert & Stadler after Lieut.-Col. John Irving, published January 1st 1802; view toward sea from ramparts of fort, town and harbor in middle distance, soldier and sailor in right foreground, black boy in left playing with cannon balls. Giant oblong folio, matted; plate mark, margins; repaired tears. New York, Rockman Prints, 1954.

Color lithograph by MacLure, MacDonald & MacGregor after Herdman; soldiers with men and women guests strolling in foreground, tents, staff with flags and banners in background. Color lithograph by MacLure, MacDonald & MacGregor after Herdman; soldiers with men and women guests strolling in foreground, tents, staff with flags and banners in background. Oblong folio, matted; margins intact; soiled, edges worn. London, Redfern, 1955.

Color stipple-engraving by D. Edwin after Warrell and Barralett, published 1st of December 1814; civilian at left attacking with sabre a mounted British cavalryman, dead cavalryman in foreground, other troops in right background. Color stipple-engraving by D. Edwin after Warrell and Barralett, published 1st of December 1814; civilian at left attacking with sabre a mounted British cavalryman, dead cavalryman in foreground, other troops in right background. Oblong large folio, matted; plate mark, margins intact; margins soiled. New York, Harry H. Hymes, 1942.

Original unsigned ink and watercolor drawing with title from manuscript note below image; standing uniform figure firing rifle toward right. Original unsigned ink and watercolor drawing with title from manuscript note below image; standing uniform figure firing rifle toward right. Small upright folio; margins; clean. London, Francis Edwards, 1966.

Color aquatint by R. Havell after Forster; artillery review on parage ground, buildings in background. Color aquatint by R. Havell after Forster; artillery review on parage ground, buildings in background. Large oblong folio; margins slightly trimmed; soiled. London, Parker Gallery, 1950.

Hand-colored mezzotint by Reynolds after Wolstenholme; portrait in uniform holding a sword in each hand crossed over his shoulders, on horse galloping across field toward left; small soldier figures in background. Hand-colored mezzotint by Reynolds after Wolstenholme; portrait in uniform holding a sword in each hand crossed over his shoulders, on horse galloping across field toward left; small soldier figures in background. Large oblong folio, matted; margins severely trimmed; worn. London, Parker Gallery, 1950.

Color lithograph by C.H. Fairland after Harrington; mounted soldier riding towards left, landscape background. Color lithograph by C.H. Fairland after Harrington; mounted soldier riding towards left, landscape background. Upright folio, matted; margins trimmed; worn, soiled. N.Y., Rockman Prints, 1951.

Colored lithograph by Severyn, 'composed & designed by E.A. Holyoke'; view of parade ground, with assembled infantry and horse artillery, flagstaff and spectators at left. Colored lithograph by Severyn, 'composed & designed by E.A. Holyoke'; view of parade ground, with assembled infantry and horse artillery, flagstaff and spectators at left. Large oblong folio, matted; margins. New York, Harry H. Hymes, 1944.