A view of an air base with planes on the ground and two tents and a watchtower to the right. Wreckage appears in the foreground. Mt. Suribachi in the distance. A view of an air base with planes on the ground and two tents and a watchtower to the right. Wreckage appears in the foreground. Mt. Suribachi in the distance. After training at Pendleton Field, Oregon, in aerial and ground photography, Baldwin served with the 20th U.S. Air Force as public relations photographer and artist. Stationed on Iwo Jima, he later covered the surrender of Japanese forces in Tokyo Bay, August, 1945. Gift of the artist, 1994.

One of a collection of 24 original watercolor caricatures of soldiers by Lavrate. Two figures in conversation in street. One of a collection of 24 original watercolor caricatures of soldiers by Lavrate. Two figures in conversation in street. Unbound; in blue cloth case, red leather back stamped gold "Laurette--French Military Caricatures--c. 1850"; yellowed and brittle, worn and soiled. London, Spencer, 1955.

Original ink cartoon strip of 6 blocks; story relates the designing of new chevrons for officer's uniform. Drawn for The Army Times, December 10th, 1949 Original ink cartoon strip of 6 blocks; story relates the designing of new chevrons for officer's uniform. Drawn for The Army Times, December 10th, 1949 Oblong medium folio; margins; creased in middle, slightly soiled.

Etching; perspective panorama of battle near river, showing combat, tent encampments, etc. Etching; perspective panorama of battle near river, showing combat, tent encampments, etc. Large oblong folio; plate mark, margins trimmed close; creased and worn; from Leichtenstein-Hauslab collection. N.Y., Rockman Prints, 1954.

Hand-colored engraved plate with printed table below and illustrations above of 10 male national types of Spain, France, Wallachia, Germany, England, Sweden, Poland, Russia, Turkey or Greece. Hand-colored engraved plate with printed table below and illustrations above of 10 male national types of Spain, France, Wallachia, Germany, England, Sweden, Poland, Russia, Turkey or Greece. Small oblong folio, matted; margins severely trimmed; worn, repaired. New York, Walter Schatzki, 1954.

Engraved view of tournament arena, pavilions, artillery exhibition, etc., landscape background Part of a larger set of 14 engravings and one watercolor, all mounted, or processions, views, etc. at various periods between 1592 and 1733. Large oblong folio; bound in 1/2 green morocco and green cloth stamped gold "Nürnberger Stückschiessen - 1592-1733".

Original unsigned watercolor by Wymer; mounted uniform figure facing left. Original unsigned watercolor by Wymer; mounted uniform figure facing left. Upright, matted together with 2nd image; no margins; clean. title provided by cataloger

Original ink sketch (somewhat crude); party of soldiers carrying wounded officer, another wounded man being assisted at left and another one on ground at right. [Note: There is uncertainty about the subject of this image and the date it depicts.] Original ink sketch (somewhat crude); party of soldiers carrying wounded officer, another wounded man being assisted at left and another one on ground at right. [Note: There is uncertainty about the subject of this image and the date it depicts.] Oblong; no margins; creased.

One of a suite of 34 hand colored engraved (after Pinhas) of uniform figures. Figure in blue and white with sword facing left. One of a suite of 34 hand colored engraved (after Pinhas) of uniform figures. Figure in blue and white with sword facing left. Clean; in blue cloth portfolio stamped gold. R. Brunon, 1985.

One of a suite of 34 hand colored engravings (after Pinhas) of uniform figures. Figure in blue with yellow plumed hat holding sword. One of a suite of 34 hand colored engravings (after Pinhas) of uniform figures. Figure in blue with yellow plumed hat holding sword. Clean; in blue cloth portfolio stamped gold. R. Brunon, 1985.

One of 73 watercolors, unsigned. A soldier, in uniform and sword, advancing. One of 73 watercolors, unsigned. A soldier, in uniform and sword, advancing. Paris, Librairie Militaire Cart, 1950.

One of a collection of manuscript title page and 49 (of 62) numbered ink drawings of uniform figures signed and dated by Zimmermann. Figure facing left with left hand on hip. One of a collection of manuscript title page and 49 (of 62) numbered ink drawings of uniform figures signed and dated by Zimmermann. Figure facing left with left hand on hip. Small, yellowed; bound in 1/4 dark blue morocco and blue marble boards stamped gold "Zimmermann. Troupes de la Grande Armée 1808. Original Drawings". Paris, Delacre sale, 1961.

Original pen and ink and wash sketch, signed and dated by Greenhalgh, of U.S. Marines Aid Station in Guam. Original pen and ink and wash sketch, signed and dated by Greenhalgh, of U.S. Marines Aid Station in Guam. Oblong large folio; margins; slightly soiled; creased.

Unsigned original watercolor; full-length portrait of personage in uniform similar to European diplomatic levée dress, wearing hat with tri-colour plumes, Légion d'Honneur (?), jewelled wait-buckle. Unsigned original watercolor; full-length portrait of personage in uniform similar to European diplomatic levée dress, wearing hat with tri-colour plumes, Légion d'Honneur (?), jewelled wait-buckle. Narrow upright medium folio, mounted on board, matted. Title supplied by cataloger. New York, Walter Schatzki, 1961.

10th in collection of 12 mounted lith. caricatures; 2 wounded and ragged soldiers conversing as they march through snow, one with arm in sling, smaller figures in right background. 10th in collection of 12 mounted lith. caricatures; 2 wounded and ragged soldiers conversing as they march through snow, one with arm in sling, smaller figures in right background. Small square folio, glued to larger backing sheet; margins trimmed; clean; in blue cloth portfolio, red leather label st. gold, "Charlet, Miscellaneous Lithographs." Paris, Duchartre, 1958

Colored engraving by Caroline Naudet after Aubry; soldiers and drummer boy grouped left and right of base of Colonne Vendôme. Colored engraving by Caroline Naudet after Aubry; soldiers and drummer boy grouped left and right of base of Colonne Vendôme. Upright folio, matted; plate mark, margins intact; clean. Paris, Bihn, 1952.

One of a collection of 28 lithograph war and political cartoons printed by Destouches, chiefly from the series, "Actualités" and in the French journal "le Charivari". This one by and after Darjou numbered 114. One of a collection of 28 lithograph war and political cartoons printed by Destouches, chiefly from the series, "Actualités" and in the French journal "le Charivari". This one by and after Darjou numbered 114. Upright, one of 28 prints; trimmed; tape along bottom edge; some yellowing. N.Y., Argosy, 1954.

One of a suite of 15 engraved plates of figures in military costume engraved by Heinrich Ulrich; figure looking down at musket along shore with ships in distance. One of a suite of 15 engraved plates of figures in military costume engraved by Heinrich Ulrich; figure looking down at musket along shore with ships in distance. Bound in 3/4 red morocco and red marble boards stamped gold "Heinrich Ulrich - Military Costume - c. 1600"; margins trimmed close, yellowed. Series title supplied by cataloger. Leichtenstein-Hauslab Collection, 1951.

Hand-colored lithograph; numbered 1; uniform group in yard of fort, smaller figures in background sitting on ground and walking towards entrance. Hand-colored lithograph; numbered 1; uniform group in yard of fort, smaller figures in background sitting on ground and walking towards entrance. Small oblong folio, matted; margins trimmed; clean; small cipher of Alexander II of Russia in corner.

1 hand-colored engraving by J. Punt after P. v. Cuyck of funeral procession; 13 members of the royal household, 4 trumpeters and 1 herald walking left. From 'Lyk-Staetsie van zyne Doorluchtigste Hoogheid den Heere Willem Carel Hendrik Friso, Prince van Orange en Nassau---Gehouden den IV. Februari MDCCLII (Hague, Pieter Gosse Junior and Nicholaes van Daalen, 1755) 1 hand-colored engraving by J. Punt after P. v. Cuyck of funeral procession; 13 members of the royal household, 4 trumpeters and 1 herald walking left. From 'Lyk-Staetsie van zyne Doorluchtigste Hoogheid den Heere Willem Carel Hendrik Friso, Prince van Orange en Nassau---Gehouden den IV. Februari MDCCLII (Hague, Pieter Gosse Junior and Nicholaes van Daalen, 1755) Giant oblong folio. New York, H.P. Kraus, 1966. 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 suite of 34 (of 35?) hand colored engraved plates by and after Labrousse, St. Sauveur direx., of uniforms, including 16 military and naval uniforms, 1 of Agent maritime, 17 of diplomatic, judicial, official and legislative dress; lacking place 6, Agent du Directoire Exécutif dans les Colonies Françaises, which appears in Italian edition but not in French or English editions. Figure in red, white and blue; ships and sea in background. One of a suite of 34 (of 35?) hand colored engraved plates by and after Labrousse, St. Sauveur direx., of uniforms, including 16 military and naval uniforms, 1 of Agent maritime, 17 of diplomatic, judicial, official and legislative dress; lacking place 6, Agent du Directoire Exécutif dans les Colonies Françaises, which appears in Italian edition but not in French or English editions. Figure in red, white and blue; ships and sea in background. Small, unbound; clean; in blue cloth slipcase, maroon leather label stamped gold. Paris, Grangié sale, 1963.

A green curtain opens to uncover a scene played on the international stage. Recalling Gulliver's capture by the Lilliputians, Madame Françoise, symbol of the French nation, lies in the center of the image; her hair is disheveled and she is dressed in a loose shift. In this state of disarray, France is enchained and ravished by a swarm of small men wearing uniforms. Arms and legs shackled to the floor, she is force fed "Bourbons" by a menacing knight while other figures set about her, cutting off her clothing and removing her jewlery. On the ground in front of Mme. Françoise, a shield inscribed "Napoleon Le Grand" is broken in two, as is a lance and a crown of laurels. To the left of the image, the tricolore lays in a crumpled heap. Behind Madame Françoise and her captors, a group of soldiers stands at attention watching the scene. Forming a backdrop to the action, Cruikshank includes a vision of bewildered French citizens standing in confusion in front of the Louvre turned topsy-turvy. A group of soldiers in the right middle section carrying framed canvases, drawing folios, and "borrowed ornamants," are presumably in the process of returning pillaged goods to to their rightful owners. In the upper right corner of the sheet, John Bull looks down on the scene with vindictive approval at France's rough treatment. The figures who are responsible for France's enchainment are none other than the European monarchs and politicians who stood in staunch opposition to Napoleon. Now, they look forward to punishing France for the sins of the exiled emperor. At the left side of the image, Francis I pounds a stake into the ground; to this is attached a chain to which Alexander, the Russian Tsar, affixes a padlock. William I, in the guise of a hefty Dutchman, stoops to cut a strategic piece of Madame Françoise's shift, labled "The Netherlands." To the right of the sheet Blücher reaches into her pockets and removes a portrait medallion of Napoleon from her waist. Next to Blücher, Wellington bends, hammering a stake into the ground that holds her shackles in place. A green curtain opens to uncover a scene played on the international stage. Recalling Gulliver's capture by the Lilliputians, Madame Françoise, symbol of the French nation, lies in the center of the image; her hair is disheveled and she is dressed in a loose shift. In this state of disarray, France is enchained and ravished by a swarm of small men wearing uniforms. Arms and legs shackled to the floor, she is force fed "Bourbons" by a menacing knight while other figures set about her, cutting off her clothing and removing her jewlery. On the ground in front of Mme. Françoise, a shield inscribed "Napoleon Le Grand" is broken in two, as is a lance and a crown of laurels. To the left of the image, the tricolore lays in a crumpled heap. Behind Madame Françoise and her captors, a group of soldiers stands at attention watching the scene. Forming a backdrop to the action, Cruikshank includes a vision of bewildered French citizens standing in confusion in front of the Louvre turned topsy-turvy. A group of soldiers in the right middle section carrying framed canvases, drawing folios, and "borrowed ornamants," are presumably in the process of returning pillaged goods to to their rightful owners. In the upper right corner of the sheet, John Bull looks down on the scene with vindictive approval at France's rough treatment. The figures who are responsible for France's enchainment are none other than the European monarchs and politicians who stood in staunch opposition to Napoleon. Now, they look forward to punishing France for the sins of the exiled emperor. At the left side of the image, Francis I pounds a stake into the ground; to this is attached a chain to which Alexander, the Russian Tsar, affixes a padlock. William I, in the guise of a hefty Dutchman, stoops to cut a strategic piece of Madame Françoise's shift, labled "The Netherlands." To the right of the sheet Blücher reaches into her pockets and removes a portrait medallion of Napoleon from her waist. Next to Blücher, Wellington bends, hammering a stake into the ground that holds her shackles in place. Published by William Hone, 1815-11-09. Caption: Pubd. at W. Hones no. 55 Fleet St. Nov. 9, 1815 Caption: Price one shillg coloured Caption: Pubd. Decemr I. 1813 by Tho Tegg III Cheapside Dialogue: French citizens: "Ah! Dear me I see they have turned it inside out." "By gar! it is not like de same place as it vas." Dialogue: John Bull: "My soul but they are befriending Mumzel France indeed!!--well I've no objection to their rendering that sort of assistance in their power, for she well deserves it! Only they didn't mention all this fun in their proclaimations!!!!" Dialogue: Francis I : "We come to restore France to her Ancient rights and liberties." Dialogue: Alexander I: "It is necessary that France should be great & powerfull in order to keep up the Ballance of Power for the Security of Europe" but 'tis the great I who must preponderate in this balance." Dialogue: Castlereagh: "It delights me when I see a country enjoy her old established rights and privileges-- My Own Country to Wit." Dialogue: Blücher: "France shall choose her own rulers only she must have the Bourbons we know what is best for her and for ourselves too." Dialogue: Wellington: "We enter France as friends' Well I've crippled her Arms if that will do her any good." Printed Signature: George Cruikshank fect. Sign: Sign outside the Louvre: "In consequence of the removal of the pictures & other things, the public are respectfully informed that this building will in the future be used as a Bastile- artists are therefore invited to send in plans of alteration, improvement, & c. , &c. NB The Holy Inquisition of Spain has kindly offered to supply the necessary instruments.

Original wash drawing signed and dated by Craig; Kitchener and aides, mounted and in field dress, riding at the head of his troops through town, Sudanese waving in right background. Original wash drawing signed and dated by Craig; Kitchener and aides, mounted and in field dress, riding at the head of his troops through town, Sudanese waving in right background. From a photograph by Colonel Frank Rhodes, D.S.O. for a Supplement to The Graphic, May 7, 1898. N.Y., Rockman Prints, 1952.

This engraving was published at the height of the invasion scare in August, 1803. Three British soldiers stand in the foreground of the image. The soldier on the left extends a pitchfork on which Napoleon's head is impaled. The three soldiers speak in country accents and discuss the the foolishness of French plans to invade England. The two soldiers on the left and right of the scene wear elegant military uniforms, while the central figure is dressed in plain country clothing typically seen in representations of John Bull. All three wear black bicorne hats decorated with sprigs of oak and ribbons bearing messages of British superiority. In the distance, the French troops can be seen arriving on the British shore (left). British soldiers greet them with loaded muskets (center) and on horseback (right). Scavengers in the center distance (British women) pick the pockets of the French dead only to find meager holdings. For a similar composition, see James Gillray's "Buonaparte 48 Hours After Landing!!!" This engraving was published at the height of the invasion scare in August, 1803. Three British soldiers stand in the foreground of the image. The soldier on the left extends a pitchfork on which Napoleon's head is impaled. The three soldiers speak in country accents and discuss the the foolishness of French plans to invade England. The two soldiers on the left and right of the scene wear elegant military uniforms, while the central figure is dressed in plain country clothing typically seen in representations of John Bull. All three wear black bicorne hats decorated with sprigs of oak and ribbons bearing messages of British superiority. In the distance, the French troops can be seen arriving on the British shore (left). British soldiers greet them with loaded muskets (center) and on horseback (right). Scavengers in the center distance (British women) pick the pockets of the French dead only to find meager holdings. For a similar composition, see James Gillray's "Buonaparte 48 Hours After Landing!!!" Dialogue: Dang my Buttons if that beant the/ Head of that Rogue Boney. I told our/ Squire this morning, what do you think/ say's I the Lads of our Villiage can't cut/ up a Regiment of them French Mounsheers,/ and as soon as the Lasses had given us a Kiss/ for good luck I could have/ sworn we should do it/ and so we have. Dialogue: Why Harkee, d'ye zee, I never liked/ Soldiering afore, but some how or/ other when I though of our Sal/ the bearns, the poor pigs, the Cows/ and the Geese, why I could have/ killed the whole Army my/ own Self. Dialogue: Here he is Exalted my Lads/ 24 Hours after Landing. Dialogue: Why this is poor/ finding I have/ emptied the pockets/ of a score and only found/ one head of garlic/ 2 onions &/ a parcel of/ pill boxes Inscription: Folios of Caracatures Lent Out for the Evening Inscription: Pubd. Aug 6th 1803 by S W Fores Piccadilly

Original watercolor and gouache, signed by Shannon, of five soldiers wisecracking and laughing during chow, at night, after the invasion of Rendova Island; group of soldiers with weapons in upper left background; Invasion of Rendova, Solomon Island Campaign. Original watercolor and gouache, signed by Shannon, of five soldiers wisecracking and laughing during chow, at night, after the invasion of Rendova Island; group of soldiers with weapons in upper left background; Invasion of Rendova, Solomon Island Campaign. Shannon served as a war artist with the U.S. Army in the South Pacific War Art Unit in 1943. Later became picture editor and illustrator for the Army Information and Education Division, New York, 1944-1946.

Original preparatory sketch (?) in blue pencil, by Prior; elephant and rider with decorative howdah and blanket, prancing toward right; "yellow print" handwritten in lower left. Original preparatory sketch (?) in blue pencil, by Prior; elephant and rider with decorative howdah and blanket, prancing toward right; "yellow print" handwritten in lower left. Drawn for the Illustrated London News.

Color photogravure after Giles, privately printed in Vienna; Sudanese soldiers bringing chieftain before British officers at left, aftermath of battle in background. Color photogravure after Giles, privately printed in Vienna; Sudanese soldiers bringing chieftain before British officers at left, aftermath of battle in background. Giant oblong folio; margins intact; clean, slight marginal tears. London, Parker Gallery, 1965.

Color lithograph caricature; 2 illustrations of Scottish soldier, first with arm in sling, second enjoying meal. Color lithograph caricature; 2 illustrations of Scottish soldier, first with arm in sling, second enjoying meal. Oblong medium folio, matted; margins; repaired tear, cleaned, but still signs of slight soiling. London, Parker Gallery, 1952.

1 watercolor in sketchbook; soldiers on side of ship 1 watercolor in sketchbook; soldiers on side of ship 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. Small folio. Gift of the artist, 1994 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 unsigned charcoal drawing on white board; standing uniform figure of African-American infantryman or militiaman in field or camouflage uniform, soft hat. Original unsigned charcoal drawing on white board; standing uniform figure of African-American infantryman or militiaman in field or camouflage uniform, soft hat. Narrow upright small folio, matted folio; no margins.