Color lithograph (by A. Ducôte after Smyth); soldiers and civilians in combat at barge landing. Color lithograph (by A. Ducôte after Smyth); soldiers and civilians in combat at barge landing. Plate XIII from 'Sketches in the Canadas' by Coke Smyth (London, Thos. McLean, 1839). London, Spencer, 1955.

Original signed ink and wash drawing. Soldiers gathered on deck of ship crossing the Atlantic. Lifeboat overhead. Original signed ink and wash drawing. Soldiers gathered on deck of ship crossing the Atlantic. Lifeboat overhead. Medium oblong folio; matted; lower corners damaged.

Color photogravure after Berkeley, dated 1898 by artist; close combat between attacking Highlanders and Sudanese in thickets near fort, palm trees in background; small military bust portrait at lower left. Color photogravure after Berkeley, dated 1898 by artist; close combat between attacking Highlanders and Sudanese in thickets near fort, palm trees in background; small military bust portrait at lower left. Giant oblong folio; margins intact; marginal tears. London, Parker Gallery, 1965.

Etching by and after Bloem, numbered 676; warships firing and being fired upon from shore, in harbor. Etching by and after Bloem, numbered 676; warships firing and being fired upon from shore, in harbor. Depicts the Battle of Vågen (also known as the Battle of Bergen) N.Y., Rockman Prints, 1960.

Color plate after Derain; soldier dancing with woman, three other soldiers watching in background. From painting dated 1903 in the Saint Louis Art Museum. During the period of the painting, Derain was doing his military service at the Commercy Barracks in the Vosges. 'The lanky artilleryman in the center background is a portrait of the painter himself and is said to be an excellent likeness at the age of twenty-three' (Art News, Vol. XLIV, No. 3, March 15-31, 1945, page 8) Color plate after Derain; soldier dancing with woman, three other soldiers watching in background. From painting dated 1903 in the Saint Louis Art Museum. During the period of the painting, Derain was doing his military service at the Commercy Barracks in the Vosges. 'The lanky artilleryman in the center background is a portrait of the painter himself and is said to be an excellent likeness at the age of twenty-three' (Art News, Vol. XLIV, No. 3, March 15-31, 1945, page 8) Small upright folio; margins intact; clean.

Colored lithograph by and after Lord, printed by St. Marc Gazeau & Comie., dated 1821 by artist; soldier carrying wounded comrade from burning building, battle in progress in background. Colored lithograph by and after Lord, printed by St. Marc Gazeau & Comie., dated 1821 by artist; soldier carrying wounded comrade from burning building, battle in progress in background. Oblong folio, matted; margins intact; worn. London, Parker Gallery, 1953.

Two servicemen are shown resting in the corner of their barracks. Light filters through multipane windows behind them. Signed and dated. Two servicemen are shown resting in the corner of their barracks. Light filters through multipane windows behind them. Signed and dated. 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.

Lithograph printed by Brangwyn; combat scene of artillery unit under fire, officer looking toward left through field glasses, crouching soldier gesturing for help, howitzer and other soldiers in background. Lithograph printed by Brangwyn; combat scene of artillery unit under fire, officer looking toward left through field glasses, crouching soldier gesturing for help, howitzer and other soldiers in background. Large square folio; margins trimmed; clean.

Original pencil sketch signed and dated by Chapman; soldiers in bunk room crowded with beds, trunks, etc., reading, writing letters, resting. Original pencil sketch signed and dated by Chapman; soldiers in bunk room crowded with beds, trunks, etc., reading, writing letters, resting. Chapman served in the U.S. Army and sketched scenes stateside, in convoy, and in England before being transferred in 1944 to the Public Relations and Historical Section of the 84th Infantry Division to produce work on the Battle of Germany. He also did cartoons for the 84th divisional newspaper and Stars & Stripes.

Hand-colored etched caricature; rear view of Duke of Sussex, in uniform, advancing towards young woman dancing partner. Hand-colored etched caricature; rear view of Duke of Sussex, in uniform, advancing towards young woman dancing partner. Upright; plate mark, margins intact; slightly creased and yellowed. N.Y., Walter Schatzki, 1964.

Original pencil drawing by Karl Rittmann; seated soldier with folded hands on lap. Censor's stamp on verso Original pencil drawing by Karl Rittmann; seated soldier with folded hands on lap. Censor's stamp on verso Gift of Larry Rittman, 2021 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/)

Color plate after G.W. Peters; wounded infantryman crouched in rocks firing pistol at advancing Boer attackers. Color plate after G.W. Peters; wounded infantryman crouched in rocks firing pistol at advancing Boer attackers. For 1903 Smith & Wesson advertisement: 'Cheaply made revolvers may be all right to look at, but when it comes to a question of "My life or his" the revolver needed is the Smith & Wesson...' [See Country Life in America, July 1903, page 219 for advertisement for color print] Charleston, S.C., Schindler, 1952.

A group of airmen work on a fighter plane on an airfield. A group of airmen work on a fighter plane on an airfield. 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. Gift of the artist, 1994.

17th of 38 engravings of artillery weapons, etc., from Fronsperger; ammunition or gunpowder barrels and artillery equipment. 17th of 38 engravings of artillery weapons, etc., from Fronsperger; ammunition or gunpowder barrels and artillery equipment. Folio; most engravings yellowed or trimmed close. Leichtenstein-Hauslab Collection, 1951. title provided by cataloger

Aquatint; assembly at court, Napoleon consoling Stephanie of Baden to sit on his knee after being humiliated by Princess Murat, men and women looking on. Aquatint; assembly at court, Napoleon consoling Stephanie of Baden to sit on his knee after being humiliated by Princess Murat, men and women looking on. Small oblong folio; margins; slightly soiled.

29th in collection of 91 lithographic plates by Villain and Gihaut frères after Charlet; young cadet taking down hat from hook on wall at left, 3 older soldiers standing to his right. 29th in collection of 91 lithographic plates by Villain and Gihaut frères after Charlet; young cadet taking down hat from hook on wall at left, 3 older soldiers standing to his right. In blue cloth case, blue leather stamped gold "Lithographs by Charlet". New York, Walter Schatzki, 1965.

Color aquatint by Havell, after Fraser, published March 1, 1820; Indian infantry being assembled near pile of weapons in mountains; wooden stockade in middle distance, fort of Raeengurh on top of crag in right distance. Color aquatint by Havell, after Fraser, published March 1, 1820; Indian infantry being assembled near pile of weapons in mountains; wooden stockade in middle distance, fort of Raeengurh on top of crag in right distance. From 'Views in the Himala Mountains', plate XIV N.Y., Rockman Prints, 1965. title provided by cataloger

One of a collection of 21 etched plates of battle and siege scenes (after Baur). 'Stylised representation of the besieging forces at Valenciennes, between walled town in background and encampment in foreground' -- British Museum. One of a collection of 21 etched plates of battle and siege scenes (after Baur). 'Stylised representation of the besieging forces at Valenciennes, between walled town in background and encampment in foreground' -- British Museum. Folio, margins trimmed close, mounted on tan paper, slightly soiled, unbound; in tan cloth portfolio stamped gold.

Colored lithograph printed by Bianchi, numbered 3; Bonaparte talking with military and civil officers and pointing, kneeling soldier with unfolded map at right. Colored lithograph printed by Bianchi, numbered 3; Bonaparte talking with military and civil officers and pointing, kneeling soldier with unfolded map at right. Oblong, margins; yellowed. London, Parker Gallery, 1951. Title: Assedio di Tolone. Caption: Bonaparte Incaricato della Direzione dell' Artiglieria Spiega ai Rappresentanti del Popolo il suo Piano d'Attaco e li fa Marvigliare. Caption: Lith. Bianchi Number: 3

Massed troops marching towards breach in fortification Massed troops marching towards breach in fortification From Raffet's Souvenirs d'Italie, 1849

Colored lithograph, numbered 8; French soldiers in center storming cliff, explosion in right background. Colored lithograph, numbered 8; French soldiers in center storming cliff, explosion in right background. Oblong medium folio, matted; margins intact; margins worn and soiled. title: Assult et Prise de Bomarsund, le 15 Aout 1854. title: Sturm und Einnahme von Bomarsund, den 15ten August 1854. title: Bomarsund taken bÿ assult, August 15th 1854. caption: Eigenthum, Druck und Verlag von Joseph Scholz in Mainz. number: No. 8.

Hand-colored aquatint (after Zix); view on battlefield at night, flames and walled city or fort in background. Hand-colored aquatint (after Zix); view on battlefield at night, flames and walled city or fort in background. Small oblong folio; plate mark, margins trimmed; slightly soiled. Paris, Grangié sale, 1967.

Soldiers advancing through breach in wall Soldiers advancing through breach in wall Sub-title reads: "Cette dernière action, due a la cooperation rapide et bien combinée des deux colonnes d'attaque, sous la direction du Lieutenant-Colonel Espinasse, du 22ème Leger, nous rendit tout à fait maîtres du Bastion 8." From Raffet's Souvenirs d'Italie, 1849

Original watercolor signed by Gobaut; troops attacking and destroying Moslem fortress of Zaatcha in 1849. Original watercolor signed by Gobaut; troops attacking and destroying Moslem fortress of Zaatcha in 1849. Oblong, mounted on white board; no margins; clean. London, Redfern, 1955.

Engraving (proof before letters by Tortorel and Perissin, from 'Recueil d'stampes historiques'); soldiers pouring across bridge and moat, storming fortress of walled city which is partly afire in right background. Engraving (proof before letters by Tortorel and Perissin, from 'Recueil d'stampes historiques'); soldiers pouring across bridge and moat, storming fortress of walled city which is partly afire in right background. Oblong folio, matted; margins trimmed close. N.Y., Rockman Prints Title supplied by cataloger

Original watercolor signed and dated by Sanfilippo; group of infantrymen on bluff in hilly landscape, in aftermath of combat, resting, comforting each other, talking. Original watercolor signed and dated by Sanfilippo; group of infantrymen on bluff in hilly landscape, in aftermath of combat, resting, comforting each other, talking. Oblong folio, matted; no margins; clean. title provided by cataloger

View of Garibaldi at Aspromonte, Italy prior to the Battle of Aspromonte during which the Royal Italian Army defeated Garibaldi. View of Garibaldi at Aspromonte, Italy prior to the Battle of Aspromonte during which the Royal Italian Army defeated Garibaldi. Published in Illustrated Times, September 20, 1862, vol. 1, p. 329.

One of a pair of tinted lithograph plates by A. Strassgschwandtner after Warmuth von Schlachtfeld, printed by Reiffenstein und Rosch; view of restored church with religious ceremony of commemoration, attended by troops, taking place in foreground. One of a pair of tinted lithograph plates by A. Strassgschwandtner after Warmuth von Schlachtfeld, printed by Reiffenstein und Rosch; view of restored church with religious ceremony of commemoration, attended by troops, taking place in foreground. Large oblong folio; margins intact; clean; from Leichtenstein-Hauslab collection. N.Y., Rockman Prints, 1954.

One of a pair of tinted lithograph plates by A. Strassgschwandtner after Warmuth von Schlactenfeld, printed by Reiffenstein und Rosch; view of battle beside church, which is damaged and burning. One of a pair of tinted lithograph plates by A. Strassgschwandtner after Warmuth von Schlactenfeld, printed by Reiffenstein und Rosch; view of battle beside church, which is damaged and burning. Large oblong folio; margins intact; clean; from Leichtenstein-Hauslab collection. N.Y., Rockman Prints, 1954.

A close-up view of a Marine asleep while sitting up, his helmet lying in the foreground. A close-up view of a Marine asleep while sitting up, his helmet lying in the foreground. Title from typed label affixed to verso. 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.