One of a collection of 145 (of 146: no. 123 lacking) original watercolor drawings of uniform figures by Lyall. Figure in red, yellow and white with rifle. One of a collection of 145 (of 146: no. 123 lacking) original watercolor drawings of uniform figures by Lyall. Figure in red, yellow and white with rifle. Unbound; in red cloth case, black leather label stamped gold; clean. London, Forster Groom, 1946.

1st of 3 gouache copies by John Putnam after Young; standing uniform figure, left hand on hip, right hand holding whistle and upturned cannon. [See Wendell C. Parks, 'Sgt. E.C. Young, artist of the Old Corps', Fortitudine, Vol. VII, No. 2, Fall, 1977, pages 10-11.] 1st of 3 gouache copies by John Putnam after Young; standing uniform figure, left hand on hip, right hand holding whistle and upturned cannon. [See Wendell C. Parks, 'Sgt. E.C. Young, artist of the Old Corps', Fortitudine, Vol. VII, No. 2, Fall, 1977, pages 10-11.] Small upright folio; margins intact. Mystic, Conn., John Putnam, 1953. title provided by cataloger

One of a collection of 27 sketches by Stevenson, pg. 4. Pen and ink sketch of a series of boats as viewed from the side, one being lowered into the water; somewhat crude. One of a collection of 27 sketches by Stevenson, pg. 4. Pen and ink sketch of a series of boats as viewed from the side, one being lowered into the water; somewhat crude. 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.

'Festive procession of ships before Amsterdam; two coats of arms in top corners; after Simon de Vlieger' -- British Museum. Plate 15 from fête book commemorating the royal entry into Amsterdam of Marie de Medici, the exiled Queen Mother of France (1575-1642), in 1638. From: Caspar Barlaeus, 'Medicea Hospes' (Amsterdam: 1638),. 'Festive procession of ships before Amsterdam; two coats of arms in top corners; after Simon de Vlieger' -- British Museum. Plate 15 from fête book commemorating the royal entry into Amsterdam of Marie de Medici, the exiled Queen Mother of France (1575-1642), in 1638. From: Caspar Barlaeus, 'Medicea Hospes' (Amsterdam: 1638),.

Original gouache drawing (by Albrecht); cadets exercising in boats and swimming in river, also exercising horses on embankment, river lock at right, military storehouse and artillery emplacement at left in landscape background. [Another version in the Museum of the Theresian Military Academy, Wiener Neustadt] Original gouache drawing (by Albrecht); cadets exercising in boats and swimming in river, also exercising horses on embankment, river lock at right, military storehouse and artillery emplacement at left in landscape background. [Another version in the Museum of the Theresian Military Academy, Wiener Neustadt] Large oblong folio; gray border. [See: "The everyday life of cadets at the Wiener Neustadt Military Academy, as portrayed in the paintings of Bernhard Albrecht (1785-1793'' by Teodora Shek Brnardić, 'History of Education and Children's Literature', XV, 1 (2020), 245-271.] Title supplied by Dr. Teodora Shek Brnardić. Vienna, Christian Nebehay, 1975.

Collodion print photograph being No. 7 by H.W. Johnson; scene at edge of body of water (lake or river), with large house or lodge on shore, wooded ridge in background, distant figures. Collodion print photograph being No. 7 by H.W. Johnson; scene at edge of body of water (lake or river), with large house or lodge on shore, wooded ridge in background, distant figures. Oblong; no margins; clean title provided by cataloger

Colored litograph.; soldiers marching into town, being welcomed by villagers outside tavern. Colored litograph.; soldiers marching into town, being welcomed by villagers outside tavern. Oblong folio, matted; margins intact; slightly soiled.

Hand-colored aquatint by and after Malton; view of entrance front of three linked pavilions with cupolas, carriages in driveway, small group of cadets or volunteers drilling in right foreground. Hand-colored aquatint by and after Malton; view of entrance front of three linked pavilions with cupolas, carriages in driveway, small group of cadets or volunteers drilling in right foreground. From: 'A Picturesque And Descriptive View of the City of Dublin, Displayed In a Series of the most Interesting Scenes taken in the Year 1791 By James Malton With A brief authentic History from the earliest accounts to the Present Time'.

Sepia mezzotint; view of sculpted bust by Bosio of Blücher in uniform. Sepia mezzotint; view of sculpted bust by Bosio of Blücher in uniform. Upright folio; plate mark, margins; soiled. N.Y., Argosy, 1954.

Color line lithograph by G.F. Wurzbach after Jessen; equestrian portrait in uniform, facing left. Color line lithograph by G.F. Wurzbach after Jessen; equestrian portrait in uniform, facing left. Upright, mounted on white paper; margins intact; slightly soiled. Hamburg, Helmut Gerhard Schulz, 1957.

Lithograph by Chevalier after Kaiser; general, mounted, amid soldiers advancing to battle, wounded in foreground. Lithograph by Chevalier after Kaiser; general, mounted, amid soldiers advancing to battle, wounded in foreground. Large oblong folio; margins intact; edges slightly worn. Hamburg, Schulz, 1957.

2nd of pair of chromolithographic plates after Waters; central but portrait of Blücher, surrounded by 6 small illustrations of uniform figures. 2nd of pair of chromolithographic plates after Waters; central but portrait of Blücher, surrounded by 6 small illustrations of uniform figures. From Art Supplement Philadelphia Inquirer, May 2, 1897. Charleston, Schindler, 1952.

From collection of 16 hand-colored etched plates by and after Dighton, this one published Augt. 31, 1814; full-length portrait of general dark blue coat, leaning slightly forward toward right on walking stick, holding hat. From collection of 16 hand-colored etched plates by and after Dighton, this one published Augt. 31, 1814; full-length portrait of general dark blue coat, leaning slightly forward toward right on walking stick, holding hat. Upright folio, medium folio, small folio, some matted, some trimmed; clean; in maroon cloth portfolio, red leather label stamped gold. New York, Rockman Prints, 1949.

Wash drawing signed by Simpson; fortified structure on fire, soldiers in left foreground. From an album compiled by Simpson entitled 'Original sketches made in Afghanistan during the campaign of 1878-79 with the Peshawer Field Force'. Reproduced in the Illustrated London News, March 29, 1879. Wash drawing signed by Simpson; fortified structure on fire, soldiers in left foreground. From an album compiled by Simpson entitled 'Original sketches made in Afghanistan during the campaign of 1878-79 with the Peshawer Field Force'. Reproduced in the Illustrated London News, March 29, 1879. Large upright folio. London, Walter Spencer, 1953. 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/)

One of a collection of 21 mounted original unsigned watercolor and wash drawings. Soldiers shooting cannons; prisoners chained together and being watched by soldiers with whips. One of a collection of 21 mounted original unsigned watercolor and wash drawings. Soldiers shooting cannons; prisoners chained together and being watched by soldiers with whips. Unbound; mounted on heavy paper; in red cloth portfolio, green leather label stamped gold; clean. For or copied from Charles Ball, 'The History of the Indian Mutiny'. N.Y., Rockman Prints, 1949.

Napoleon, wearing a red bonnet inscribed "foolscap," sits astride a donkey and sets off for Elba. Marie Louise, seated behind Napoleon, beats the donkey with a club labeled "baton marechale." The young King of Rome accompanies his parents upon a "Corsican dog" and gestures towards an island across the water (r.). As the family group travels, they pass a scaffold that also indicates the "Road to Elba." Two crows circle the scaffold, carrying a paper that is inscribed "we long to pick your Bones." Near the left border of the sheet, a French peasant drives the donkey and jeers at their fall from grace. Napoleon, wearing a red bonnet inscribed "foolscap," sits astride a donkey and sets off for Elba. Marie Louise, seated behind Napoleon, beats the donkey with a club labeled "baton marechale." The young King of Rome accompanies his parents upon a "Corsican dog" and gestures towards an island across the water (r.). As the family group travels, they pass a scaffold that also indicates the "Road to Elba." Two crows circle the scaffold, carrying a paper that is inscribed "we long to pick your Bones." Near the left border of the sheet, a French peasant drives the donkey and jeers at their fall from grace. Published by Thomas Tegg, 1814-04-12. As Margaret George has noted, this sheet reacts to the Treaty of Fontainebleau that established the details of Napoleon's exile to Elba. The details of this treaty, dated 11 April, 1814, were not officially made available to Parliament unitl 7 April of the following year. Caption: Pubd. 12 April 1814 by Thos. Tegg No III Cheapside Dialogue: Donkey driver: "Be Gar you Cocquin now I shall drive my old Friends and bonne customers de English. Vive le Roi et le Poste Royale." Annotation: Rowlandson Plate Number: 323

Poster showing a bare-chested man lifting an injured man beside a cannon. Poster showing a bare-chested man lifting an injured man beside a cannon. Raleigh. Printed in colors on white paper. United States Food Administration. No. 16. Title from item.

Color lithograph by Maclure & Macdonald after Wright; panoramic view of city, showing soldiers (Free State Artillery?) and cannon in fortifications at left foreground, with flag. Color lithograph by Maclure & Macdonald after Wright; panoramic view of city, showing soldiers (Free State Artillery?) and cannon in fortifications at left foreground, with flag. Large oblong folio, matted; margins intact; clean, repaired tear. London, Charles J. Sawyer, 1956.

Lithograph by de Lasteyrie after Marlet; blinded soldier, barefoot, supported by 2 children, one of whom holds out tambourine for alms. Lithograph by de Lasteyrie after Marlet; blinded soldier, barefoot, supported by 2 children, one of whom holds out tambourine for alms. Small upright folio; margins intact; no title; clean. New York, Walter Schatzki, 1966. Title supplied by cataloger

Composed and arranged for the piano-forte by John Hopkinson Caption title. First line: I saw beneath an ancient tree, an aged man and grey. Cover lithographic illustration by E. Brown, Jr.: aged veteran in uniform seated by roadside with small boy on knee.

1 of collection of 48 original unsigned watercolor drawings of uniform figures and insignia. A sailer in blue and khaki uniform, standing. 1 of collection of 48 original unsigned watercolor drawings of uniform figures and insignia. A sailer in blue and khaki uniform, standing. Small, unbound; clean; in blue cloth portfolio, red leather label st. gold "Misc. German Naval and Colonial Uniforms, c.1910". Berlin, Ordens-Sammlung, 1956.

Color oleograph print after painting signed and dated 1892 by Koner; full-length portrait in ober-förster uniform, riding-crop in right hand. Color oleograph print after painting signed and dated 1892 by Koner; full-length portrait in ober-förster uniform, riding-crop in right hand. Upright folio, matted; no margins. Title supplied by cataloger. N.Y., Rockman Prints, 1962.

Original ink and watercolor sketch, signed and dated by Stevenson; bomb-damaged houses or apartments on left, at edge of river, remains of bombed bridge in river; trees, ridge, sky in background; detailed artist's report (for Intelligence Division) on verso. Original ink and watercolor sketch, signed and dated by Stevenson; bomb-damaged houses or apartments on left, at edge of river, remains of bombed bridge in river; trees, ridge, sky in background; detailed artist's report (for Intelligence Division) on verso. 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.

Colorful blankets dry on clotheslines in front of a wooden cabin with a pitched roof.. This is the verso side of the painting entitled "St. Lo, '44." Colorful blankets dry on clotheslines in front of a wooden cabin with a pitched roof.. This is the verso side of the painting entitled "St. Lo, '44." Bierly served with the 603rd Engineer Camouflage Battalion at Fort Meade during most of 1943 before joining the 635th Engineer Camouflage Company in England.

One of a pair of engraved plates by T. Cook after Hogarth, showing 2 rows of standing soldier figures in pike evolution. One of a pair of engraved plates by T. Cook after Hogarth, showing 2 rows of standing soldier figures in pike evolution. Oblong; plate mark, margins intact; clean.

One of a pair of engraved plates by T. Cook after Hogarth, showing 2 rows of standing soldier figures in halberd evolution. One of a pair of engraved plates by T. Cook after Hogarth, showing 2 rows of standing soldier figures in halberd evolution. Oblong, plate mark, margins intact; clean.

1st of 8 chromolithic plates of battle scenes. 1st of 8 chromolithic plates of battle scenes.

3rd of 8 chromolithographic plates of battle scenes. Cavalry charging into foreground with officer and trumpeter, town in distance 3rd of 8 chromolithographic plates of battle scenes. Cavalry charging into foreground with officer and trumpeter, town in distance

2nd of 8 chromolithic plates of battle scenes. 2nd of 8 chromolithic plates of battle scenes.

Part of collection of original watercolors by Woolen, McNeill, Ibbetson and Holloway, for British regimental postcards published by Gale & Polden, this one signed by Holloway; 3 uniform figures of soldiers in white jackets and green kilts, in courtyard; smaller figure in red uniform in upper left background. Part of collection of original watercolors by Woolen, McNeill, Ibbetson and Holloway, for British regimental postcards published by Gale & Polden, this one signed by Holloway; 3 uniform figures of soldiers in white jackets and green kilts, in courtyard; smaller figure in red uniform in upper left background. In red portfolio box, red label stamped gold " Woolen, McNeill, Ibbetson & Holloway - Original watercolors for British regimental postcards c.1900-1910".