Watercolor of Arab soldier in the pay of the Rao of Cutch, showing one of the two figures, signed Matilda Watercolor of Arab soldier in the pay of the Rao of Cutch, showing one of the two figures, signed Matilda For or copied (by Matilda?) from: 'Cutch; or, Random Sketches, taken during a Residence in One of the Northern Provinces of Western India; Interspersed with Legends and Traditions by Mrs. Postans (London, Smith, Elder and Co.,1839). N.Y., Rockman Prints, 1951.

Colored aquatint by Maile after Charlet; Napoleon, mounted, receiving drinking flask from grenadier, troops in background Colored aquatint by Maile after Charlet; Napoleon, mounted, receiving drinking flask from grenadier, troops in background Oblong folio, matted; margins; clean. London, Parker Gallery, 1953.

8th in set of 17 engraved plates of scenes from Thirty Years' War, by Israel after Callot; miscreant soldiers being marched under guard through clearing, accompanied by mounted officer; small farm building in background. 8th in set of 17 engraved plates of scenes from Thirty Years' War, by Israel after Callot; miscreant soldiers being marched under guard through clearing, accompanied by mounted officer; small farm building in background. Oblong; margins trimmed close, inset-mounted; bound in 3/4 blue morocco stamped gold and blue marble boards; clean. N.Y., Bodley, 1948.

Tinted lithograph after Charpentier; Cantinière offering drink to wounded (Russian?) soldier Tinted lithograph after Charpentier; Cantinière offering drink to wounded (Russian?) soldier Oblong folio; soiled

Etching by (and after?) Cossmann; 2 17th-cent. soldiers, one with arm in sling, returning from the battlefield, landscape background. Etching by (and after?) Cossmann; 2 17th-cent. soldiers, one with arm in sling, returning from the battlefield, landscape background. Upright medium folio; plate mark, margins intact; clean. title: APRES LA BATAILLE. caption: Paris Public par CADART & LUQUET, EDITEURS, 78 Rue Richelieu text: Cossmann sculp. printed signature: M. Cossman text: Imp. Delâtre, Rue St. Jacques, 303, Paris. number: 221

Original ink and watercolor caricature, signed illegibly; non-commissioned officer leaning on café table, right hand on hip, paper has pr. red and blue border. Original ink and watercolor caricature, signed illegibly; non-commissioned officer leaning on café table, right hand on hip, paper has pr. red and blue border. Small upright; margins intact; clean. New York, Rockman Prints, 1964.

3rd in collection of 15 mounted colored plates of uniform figures, after Elzingre, with captions in German and French; standing figures of drummer and flag-bearer, both in blue uniforms, red facings, outdoors. 3rd in collection of 15 mounted colored plates of uniform figures, after Elzingre, with captions in German and French; standing figures of drummer and flag-bearer, both in blue uniforms, red facings, outdoors. Unbound; clean; in red cloth portfolio, white leather labels stamped gold. N.Y., Zaremba, 1958.

Lithograph, unsigned, printed by Delpech; 2 soldiers at left checking list of group of young peasant recruits at right. Lithograph, unsigned, printed by Delpech; 2 soldiers at left checking list of group of young peasant recruits at right. Oblong medium folio, matted; margins trimmed close; worn. London, Redfern (Maggs), 1956.

Napoleon, the "Corsican Phoenix," has built his nest on the top of a cragged mountain outcropping inscribed "Pyrenean Mountains." As a phoenix, Napoleon has the wings, talons, and body of a bird; however, the head is a likeness of Napoleon rendered in profile. Additionally, he wears a military collar and a decorated ribbon that reads "Cordon D' Honor." A cluster of bayonets and muskets forms the base of the nest. An egg-shaped globe resting in the nest bursts into flames. Rising off the terrestrial globe in terror, Napoleon's crown flies from his head and his talons release a scepter (l.) and a globe (r.). The engulfing flames have already begun to consume his outstretched wings and will soon spread to his body. A Dove of Peace descends from the top of the sheet; in its mouth it carries an olive branch; the phrase "Peace on Earth" is written on its wings. As it lowers, the dove forces a mass of thick clouds down over the Phoenix's fire, bringing behind it new, radiant light to the earth. The sheet has inscriptions in ink and in graphite at the bottom, under the plate mark [see texts]; small tears at edges of sheet, some staining, and discoloration; also some tape on the bottom edge of the reverse. Napoleon, the "Corsican Phoenix," has built his nest on the top of a cragged mountain outcropping inscribed "Pyrenean Mountains." As a phoenix, Napoleon has the wings, talons, and body of a bird; however, the head is a likeness of Napoleon rendered in profile. Additionally, he wears a military collar and a decorated ribbon that reads "Cordon D' Honor." A cluster of bayonets and muskets forms the base of the nest. An egg-shaped globe resting in the nest bursts into flames. Rising off the terrestrial globe in terror, Napoleon's crown flies from his head and his talons release a scepter (l.) and a globe (r.). The engulfing flames have already begun to consume his outstretched wings and will soon spread to his body. A Dove of Peace descends from the top of the sheet; in its mouth it carries an olive branch; the phrase "Peace on Earth" is written on its wings. As it lowers, the dove forces a mass of thick clouds down over the Phoenix's fire, bringing behind it new, radiant light to the earth. The sheet has inscriptions in ink and in graphite at the bottom, under the plate mark [see texts]; small tears at edges of sheet, some staining, and discoloration; also some tape on the bottom edge of the reverse. Published by Hannah Humphrey. Coupled with the verses inscribed at the bottom of the sheet, Gillray's image suggests that Napoleon brought about his ruin by his own machinations. After the Phoenix destroys himself, a new Phoenix will rise from the flames to 'illuminate the World.' Gillray left the nature of this new Phoenix open to the viewer's interpretation. 1808-08-02 Caption: "When the Phoenix is tired of Life, he builds a Nest upon the Mountains, and setting it on Fire by the wafting of his own Wings, he perishes himself in the Flames and from the smoke of his Ashes arises a new Phoenix to illuminate the World. --vide 'The New Spanish Encyclopedia, Ed....'" Caption: Published August 2, 1808 by H. Humphrey 29 St. James's Street Printed Signature: James Gillray inv. & fec. Annotation: [3 initials, possibly "PRB"] Annotation: 1808 Annotation: 4 Annotation: P. R. Bullard. 1817

Napoleon, dressed in a uniform ornamented with gold braid, stands in the center of a semicircle of grizzly soldiers who wear enormous jackboots with menacing spurs at their heels. Calling attention to his diabolical nature, the satirist has replaced Napoleon's own trademark boots with cloven hoofs. This inhuman appearance is addressed in the text by references to cannibalism and to the horrible "aspect" his soldiers present. Indeed, the blazing eyes and bared teeth highlighted on the scowling faces of the soldiers are only slightly more grotesque than Napoleon's own profile. While exhorting to his troops, Napoleon clenches his left fist in rage and in his right hand waves a flag decorated with a double-headed skeleton holding arrows. The bloodthirstiness of the soldiers is further indicated by the oversized curved swords they carry and by the weapons displayed prominently in their belts. So consumed are they with war that they fail to register Napoleon's own prediction that the sea will be covered with the blood of the French troops. Napoleon, dressed in a uniform ornamented with gold braid, stands in the center of a semicircle of grizzly soldiers who wear enormous jackboots with menacing spurs at their heels. Calling attention to his diabolical nature, the satirist has replaced Napoleon's own trademark boots with cloven hoofs. This inhuman appearance is addressed in the text by references to cannibalism and to the horrible "aspect" his soldiers present. Indeed, the blazing eyes and bared teeth highlighted on the scowling faces of the soldiers are only slightly more grotesque than Napoleon's own profile. While exhorting to his troops, Napoleon clenches his left fist in rage and in his right hand waves a flag decorated with a double-headed skeleton holding arrows. The bloodthirstiness of the soldiers is further indicated by the oversized curved swords they carry and by the weapons displayed prominently in their belts. So consumed are they with war that they fail to register Napoleon's own prediction that the sea will be covered with the blood of the French troops. Published by R. Ackermann. 1808-10-07 Caption: Publisished by R. Ackermann 101 Strand Octr 7 1808 Dialogue: Napoleon (center): "Legions of Death, After having Ravished, Murdered and Plundered, on the banks of the Danube & the Vistula--I shall order you to march through France without allowing you a moments rest!! I have occasion for you--the hideous presence of Religion and Loyalty contaminates the continent of Spain and Portugal, let your aspect drive them away from thence--let us carry our conquering Eagles to the gates of Heaven there also we have an injury to avenge--you have exceeded all modern Murderer--you have placed yourselves on a level with the most ferocious cannibals--eternal War Robbery & Plunder shall be the reward of your Exertions, for I never can injoy rest till the Sea is covered with your Blood!!" Dialogue: Soldier at far left of image: "Ha ha more Blood!" Annotation: 48/1 Collector's Mark: A

Etched caricature; revolutionary soldiers or sans-culottes accompanying wagon piled with trophies and drawn by ox with monkey driver. Etched caricature; revolutionary soldiers or sans-culottes accompanying wagon piled with trophies and drawn by ox with monkey driver. Small oblong folio, matted; plate mark, margins trimmed; somewhat worn New York, Walter Schatzki, 1955

One of collection of 55 watercolor drawings by Piroli from contemporary documents of uniform figures and groups 1841-1860. Two soldiers in uniform, standing and talking. One of collection of 55 watercolor drawings by Piroli from contemporary documents of uniform figures and groups 1841-1860. Two soldiers in uniform, standing and talking. Folio; mounted in album of 3/4 parchment tooled gold and brown marble boards, no title; clean. Camden, Me., Staack, 1951.

32nd in collection of 37 original ink and watercolor caricatures and 3 title pages signed by J. B(rouillet); standing figure of ANZAC infantryman, in broad-brimmed hat, with rifle, facing left. 32nd in collection of 37 original ink and watercolor caricatures and 3 title pages signed by J. B(rouillet); standing figure of ANZAC infantryman, in broad-brimmed hat, with rifle, facing left. Small, unbound; in maroon cloth case, red leather label stamped gold "Jacques Brouillet. Allied troops, 1945. Original watercolors". Orléans, Dick Von Schriltz, 1962.

Three Marines sit on deck, looking toward four other ships in their convoy including LST's (Landing Ship Tank). Three Marines sit on deck, looking toward four other ships in their convoy including LST's (Landing Ship Tank). 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.

From collection of original watercolors and drawings by R. Baldwin; ink wash drawing, 3 servicemen repairing propeller on bomber, 4th man looking on; jeep in foreground, more planes in background; handwritten explanatory text below. From collection of original watercolors and drawings by R. Baldwin; ink wash drawing, 3 servicemen repairing propeller on bomber, 4th man looking on; jeep in foreground, more planes in background; handwritten explanatory text below. Upright giant folio matted on white board; no margins; clean.

Steel engraved plate from book by John Halpin after Chappel; full-length portrait in uniform, standing beside horse. Steel engraved plate from book by John Halpin after Chappel; full-length portrait in uniform, standing beside horse. Upright; margins; stained. Hanover, N.H., Book & Print Shop, 1956.

1st in collection of 2 wash and 1 ink drawings, unsigned (by Thulstrup); insurgent infantry group with officer in foreground, smaller soldier figures and barricades on hillsides in background. 1st in collection of 2 wash and 1 ink drawings, unsigned (by Thulstrup); insurgent infantry group with officer in foreground, smaller soldier figures and barricades on hillsides in background. For Harper's Weekly June 13, 1896, accompanied by reproduced illustration as used in magazine N.Y., Lattendorf, 1961. title and series title provided by cataloger

9th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; infantryman in brown jacket standing on guard, pointing rifle with bayonet; steep mountains in background, and engraved rock in lower right. 9th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; infantryman in brown jacket standing on guard, pointing rifle with bayonet; steep mountains in background, and engraved rock in lower right. Folio, unbound; in red cloth case, red morocco back stamped gold "Feyerabend - die Eidgenössischen Truppen - Basel 1792". Zurich, August Laube, 1954.

Copper-engraving; full-length portrait in armor and voluminous cloak or drapery, baton in right hand, left hand on helmet resting on console table at right, background of draperies. Copper-engraving; full-length portrait in armor and voluminous cloak or drapery, baton in right hand, left hand on helmet resting on console table at right, background of draperies. Small upright folio, matted folio; margins trimmed away except at bottom; yellowed. Leichtenstein-Hauslab Collection, 1951.

One of a collection of 21 lithograph half-length and bust military portraits; by Handel, 1840, after J.B. Siber; printed by Hanfstaengl. One of a collection of 21 lithograph half-length and bust military portraits; by Handel, 1840, after J.B. Siber; printed by Hanfstaengl. Upright folio; matted; margins slightly trimmed; light soiling; in blue-gray portfolio stamped "Bavarian Military Portraits, c. 1828-60." New York, Walter Schatzki, 1952.

21st of 26 hand-colored engraved plates, after Feyerabend; standing figure of infantryman, in navy blue uniform with red trim, holding grounded rifle, facing left. 21st of 26 hand-colored engraved plates, after Feyerabend; standing figure of infantryman, in navy blue uniform with red trim, holding grounded rifle, facing left. Folio, unbound; in red cloth case, red morocco back stamped gold "Feyerabend - die Eidgenössen Truppen - Basel 1792". Zürich, August Laube, 1960.

Colored lithograph by C. de Last(eyrie) after de Bouteille; full-length portrait in uniform (blue marmaluke trousers, green tunic, sabre etc.) outdoors, orderly with horse in left background. Colored lithograph by C. de Last(eyrie) after de Bouteille; full-length portrait in uniform (blue marmaluke trousers, green tunic, sabre etc.) outdoors, orderly with horse in left background. Upright folio, matted; margins trimmed; worn. title provided by cataloger printed signature: L. de Bouteille caption: Lith. de C. de Last.

Engraved caricature by and after Britons (pseudonym) (attributed to Viscount Townshend), published May 16th, 1782; numerous caricatured personages in different activities: having eyes examined, washing clothes, demolishing temple, running about on shoreline etc., naval battle in distance. It represents the restoration of England under the new ministry; the pillars that supported the Temple of Fame are being righted and put back in place; a soldier with sword in hand protects a Native, representing America, from a Dutchman who kneels in supplication, as a Frenchman and a Spaniard flee his menacing posture. Lord North is caricatured as a washerwoman, Lord Sandwich as a ballad-singer, and Lord Rockingham as an oculist restoring sight (and reason) to George III who will renounce the hunt and return to the affairs of state. - Library of Congress Engraved caricature by and after Britons (pseudonym) (attributed to Viscount Townshend), published May 16th, 1782; numerous caricatured personages in different activities: having eyes examined, washing clothes, demolishing temple, running about on shoreline etc., naval battle in distance. It represents the restoration of England under the new ministry; the pillars that supported the Temple of Fame are being righted and put back in place; a soldier with sword in hand protects a Native, representing America, from a Dutchman who kneels in supplication, as a Frenchman and a Spaniard flee his menacing posture. Lord North is caricatured as a washerwoman, Lord Sandwich as a ballad-singer, and Lord Rockingham as an oculist restoring sight (and reason) to George III who will renounce the hunt and return to the affairs of state. - Library of Congress Small oblong folio, matted; margins severely trimmed; clean.

In this nightmarish scene, Napoleon (r.), led by a rope, is dragged on his knees before a crazed-looking judge dressed in republican regalia and seated on an elevated platform (l.). One foot on a cobblestone, the emaciated judge wears ragged clothing and waves a cobbler's hammer in one hand as he points a bony finger at Napoleon with the other. The republican bodies of both the executioner (center) and judge are drawn to grotesque excess; their snarling mouths, bulging eyes and fleshy faces bespeak blood thirstiness. Napoleon, pitifully thin, pleads for his life with tears and hands held in supplication. Two figures wearing judge's wigs and black robes sit on either side of the platform throne and record Napoleon's fate with icy calm. Adding to the drama, a rank of starved French citizens close off the background of the scene. These figures, rendered with loose lines resemble the phantoms that plague Napoleon in so many other British caricatures. At the far right, a miserable woman demands "Where's my husband, Wretch," while her two children cry for their dead father. Other thin figures make similar demands and cry for vengence. Here Cruikshank implies that the French Revolution has indeed come full circle; now the Republican mob is set on consuming Napoleon for his crimes. In this nightmarish scene, Napoleon (r.), led by a rope, is dragged on his knees before a crazed-looking judge dressed in republican regalia and seated on an elevated platform (l.). One foot on a cobblestone, the emaciated judge wears ragged clothing and waves a cobbler's hammer in one hand as he points a bony finger at Napoleon with the other. The republican bodies of both the executioner (center) and judge are drawn to grotesque excess; their snarling mouths, bulging eyes and fleshy faces bespeak blood thirstiness. Napoleon, pitifully thin, pleads for his life with tears and hands held in supplication. Two figures wearing judge's wigs and black robes sit on either side of the platform throne and record Napoleon's fate with icy calm. Adding to the drama, a rank of starved French citizens close off the background of the scene. These figures, rendered with loose lines resemble the phantoms that plague Napoleon in so many other British caricatures. At the far right, a miserable woman demands "Where's my husband, Wretch," while her two children cry for their dead father. Other thin figures make similar demands and cry for vengence. Here Cruikshank implies that the French Revolution has indeed come full circle; now the Republican mob is set on consuming Napoleon for his crimes. Published by Knight, 1813-03-06. George notes that the design may be derived from Gillray's print titled 'Patriotic Regeneration,' BM 8624. Caption: Etched by G. Ck Dialogue: Jacobin Judge: "Well, you are found guilty of Cowardly deserting from the Grand army. & by repairing here, with your Gobbling defence you have done a d__d bad job for yourself, & as your time waxes near its end, I would have you prepare your Sole for your Last___ so off with his head Mr. Butcher." Dialogue: Executioner: "Ah, D__n you we'll cut off your head & your Tail too." Dialogue: Napoleon: "O dear, o dear, do not kill me! Cut off my tail if you please!! but, spare, o spare my head." Dialogue: Figures in background: "Crispin forever." "Liberty Liberty away with him." "Aye, Aye, he had butchered millions." "Emperor Crispin forever." "Off with his head." "Where's my dady?" "Where's my husband, Wretch?" "Where's my father?"

Original pencil drawing; gun with cover and muzzle cover, buildings in background Original pencil drawing; gun with cover and muzzle cover, buildings in background 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/)

10th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; infantryman in brown jacket with tangerine facings, standing at attention outdoors. 10th of 26 hand-colored engraved plates of military portraits, each showing a cantonal uniform; infantryman in brown jacket with tangerine facings, standing at attention outdoors. Folio, unbound; in red cloth case, red morocco back stamped gold "Feyerabend - die Eidgenössischen Truppen - Basel 1792". Zurich, August Laube, 1954.

3rd in suite of 4 engraved plates by Kleinschmidt and Friedrich after Rugendas and Wolff; cavalrymen riding through mount region, smaller figures in left background; title quote from Virgil's Aeneid below. Plate 4. 3rd in suite of 4 engraved plates by Kleinschmidt and Friedrich after Rugendas and Wolff; cavalrymen riding through mount region, smaller figures in left background; title quote from Virgil's Aeneid below. Plate 4. Folio, unbound; in maroon cloth portfolio, red leather label stamped gold "G.P. Rugendas. Cavalry scenes, c. 1750." Hamburg, Helmut Gerhard Schulz, 1952.

One of a collection of 12 mounted and 9 unbound numbered engraved plates by Jacques de Gheyn after Goltzius of officers and soldiers. Sergeant with halberd and sword with left arm extended. One of a collection of 12 mounted and 9 unbound numbered engraved plates by Jacques de Gheyn after Goltzius of officers and soldiers. Sergeant with halberd and sword with left arm extended. Folio; bound in 3/4 blue morocco and yellow cloth stamped gold; some slight staining in margins. Liechtenstein-Hauslab Collection, 1951.

One of a suite of 12 mounted engraved plates including title page by Heinrich Ullrich after Mayr, all showing figures in military costume. Figure shooting pistol into the air. One of a suite of 12 mounted engraved plates including title page by Heinrich Ullrich after Mayr, all showing figures in military costume. Figure shooting pistol into the air. Bound in 3/4 red morocco and red marble boards stamped gold "Paul Mayr & Heinrich Ulrich. Military Costume. Nürmberg". Leichtenstein-Hauslab Collection, 1951.

Lithograph by Weber & Co.; bust portrait in uniform, showing medals and orders. Lithograph by Weber & Co.; bust portrait in uniform, showing medals and orders. Upright, matted; margins; soiled. N.Y., Rockman Prints, 1948.