Prints, Drawings and Watercolors from the Anne S.K. Brown Military Collection

This vast digital collection of military artwork from the 16th through 20th centuries, vividly documents all aspects of military and naval history, with emphasis on the history and illustration of world military and naval uniforms from the 17th century to the present. In addition to the material on military and naval dress, the collection contains thousands of battle and campaign scenes, portraits, caricatures, wartime posters, original photographs, material pertaining to military decorations and insignia, heraldic ornaments, armor, weaponry, equitation, flags, knightly orders, court and ceremonial dress, architecture, and the general history of costume.
This collection is part of Brown University Library, hosted by Brown University.

Items in this collection

A View of the Cape of Good Hope. Ths Engraving In Commemoration of the taking of the Cape of Good Hope, is inscribed ...

Color aquatint by J. Clark, J. Humble, and Edwd. Orme after Craig, published June 4, 1806; view of warships and whaleboats with sailors in harbor before coastal town, rocky cliffs or mountains in background; illustration at bottom of battle scene with infantry in formation, group of officers at left. Color aquatint by J. Clark, J. Humble, and Edwd. Orme after Craig, published June 4, 1806; view of warships and whaleboats with sailors in harbor before coastal town, rocky cliffs or mountains in background; illustration at bottom of battle scene with infantry in formation, group of officers at left. Large oblong folio, matted; margins trimmed close; clean. London, Parker Gallery, 1951.

A View of the British Army on the Present Establishment 1803: Dedicated to His Royal Highness the Duke of York, Comma...

1 hand-colored folded engraved sheet by De Bosset, 'the figures drawn by Jn. Atkinson'. 'Royal monogram crest flanked by trophies over 4 scenes with uniformed figures including 2 equestrian figures, within a diagrammatic representation of the then current establishment of the British Army' -- British Museum. Includes one black soldier of the West Indian Regiment 1 hand-colored folded engraved sheet by De Bosset, 'the figures drawn by Jn. Atkinson'. 'Royal monogram crest flanked by trophies over 4 scenes with uniformed figures including 2 equestrian figures, within a diagrammatic representation of the then current establishment of the British Army' -- British Museum. Includes one black soldier of the West Indian Regiment Small oblong folio. Stow-on-the-Wold, Christopher Clarke, 2011. 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/)

A View of the bridge of Miserere, about Three Leagues from Salamonde. The French are here seen worn down with fatigue...

7th in collection of 12 (of 13) numbered and unnumbered hand-colored engravings (this one uncolored) by Comté after Leveque; soldiers encamped in foreground near scenic natural bridge and mountains in background. 7th in collection of 12 (of 13) numbered and unnumbered hand-colored engravings (this one uncolored) by Comté after Leveque; soldiers encamped in foreground near scenic natural bridge and mountains in background. Oblong folio, matted; most with plate marks and margins intact; some slightly soiled. From "Campaigns of the British Army in Portugal...' London, Francis Edwards, 1962.

A view of part of the town of Boston in New-England and Brittish ships of war landing their troops. 1768

Hand-colored reproduction by Christian Remick, of engraving by and after Revere; bird's-eye view over harbor, showing ships discharging troops and troops marching up wharf to city in background. Hand-colored reproduction by Christian Remick, of engraving by and after Revere; bird's-eye view over harbor, showing ships discharging troops and troops marching up wharf to city in background. Oblong medium folio; no margins; matted. Boston, Goodspeed, 1962.

A view of Col. Johnson's engagement with the savages (commanded by Tecumseh) near the Moravian Town, October 5, 1812.

Hand colored wood engraving by (and after?) Bowen; Johnson, mounted, in combat with Native American, Native scalping a fallen soldier, other soldiers fighting Native Americans, troops attacking in background, Tecumseh standing in the foreground, on the far right. Hand colored wood engraving by (and after?) Bowen; Johnson, mounted, in combat with Native American, Native scalping a fallen soldier, other soldiers fighting Native Americans, troops attacking in background, Tecumseh standing in the foreground, on the far right. Frontispiece to Trumbull's 'History of the Discovery of America' (Boston, 1828) Small oblong folio, mounted on white paper and matted; yellowed, hole at bottom edge; margins trimmed. N.Y., Old Print Shop, 1953.

A view in St. James's Park of the Horse Guards & St. Paul's

Color aquatint by H. Schutz after Manskirsch; view of park and buildings in distance, promenaders and soldiers on path in foreground. Color aquatint by H. Schutz after Manskirsch; view of park and buildings in distance, promenaders and soldiers on path in foreground. Plate No. 3 from a folio of London views published by Ackermann from drawings by Manskirsch and first published in 1798.

A view and plan of Longwood House, St. Helena -- the residence of Napoleon Bonaparte

Colored aquatint, published Jany. 1, 1817; view of house and landscape background at top, plan of house at bottom. No. 13 of R Ackermann's Repository of Arts &c... Colored aquatint, published Jany. 1, 1817; view of house and landscape background at top, plan of house at bottom. No. 13 of R Ackermann's Repository of Arts &c... Upright; margins; slightly soiled and foxed. N.Y., Rockman Prints, 1961.

A view & representation of ye Battle of Luzzara fought on ye 15th of Augst. 1702

Copper-engraving by Hen(ry) Roberts; violent battle scene in foreground, troop formations, village and distant landscape in background. Copper-engraving by Hen(ry) Roberts; violent battle scene in foreground, troop formations, village and distant landscape in background. Oblong folio, matted large folio; margins entirely trimmed away except at bottom. N.Y., Rockman Prints, 1949.

A view & representation of ye battle fought before Turin on ye 7th of September 1706. England's Glory No. 7

Hand-colored engraving by J. Carwitham; cavalry combat in foreground, infantry formations in battle on plain in background, city and fortifications in right distance. Hand-colored engraving by J. Carwitham; cavalry combat in foreground, infantry formations in battle on plain in background, city and fortifications in right distance. Oblong folio, matted; margins trimmed; margins worn. London, Parker Gallery, 1965.

A Tyrolese rifleman

A Tyrolese rifleman

Brown University

Wood-engraving; rifleman, outdoors, in Tyrolean dress. From Harper's Weekly, July 2, 1859, page 428. Wood-engraving; rifleman, outdoors, in Tyrolean dress. From Harper's Weekly, July 2, 1859, page 428. Hanover, N.H., Book & Print Shop, 1956.

A typical Japanese peasant

Original pen and ink and watercolor bust portrait, signed by Murphy, of a Japanese peasant. Label on the back says: Under the agrarian reform program, he will stand a better chance to make a good living. See also: Japanese peasant. Original pen and ink and watercolor bust portrait, signed by Murphy, of a Japanese peasant. Label on the back says: Under the agrarian reform program, he will stand a better chance to make a good living. See also: Japanese peasant. 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.

A typical Iwo Jima marine, standing on one of the conquered ridges on D PLUS 17, face and battle clothes blackened by...

A Marine stands at ease in profile, cap on head, rifle slung over his back. Two others are seen in the backround. A Marine stands at ease in profile, cap on head, rifle slung over his back. Two others are seen in the backround. Title from typed label affixed to verso. Continues: 'He has traded his steel helmet for a more comfortable cap'. Censor's stamp. 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.

A typical good-natured altruist -- but a deadly Jap killer.

A portrait of a seated Marine, bare-chested and at ease, one leg drawn up. The paper is serrated at the top, probably torn from a drawing pad. A portrait of a seated Marine, bare-chested and at ease, one leg drawn up. The paper is serrated at the top, probably torn from a drawing pad. 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.

A Turkish sentry

A Turkish sentry

Brown University

One of a pair of original unsigned watercolors; standing uniform figures outdoors, sentry with rifle with fixed bayonet. [See also: Turkish cavalry]. One of a pair of original unsigned watercolors; standing uniform figures outdoors, sentry with rifle with fixed bayonet. [See also: Turkish cavalry]. Upright, one of 2 pieces, matted; margins slightly trimmed; yellowed. N.Y., Rockman, 1953.

A Turkish cavalryman, c. 1824

Original unsigned watercolor (by Heath); cavalryman riding towards left but halted to look back over shoulder, scimitar in right hand, landscape background with 2 smaller galloping cavalrymen at left. Original unsigned watercolor (by Heath); cavalryman riding towards left but halted to look back over shoulder, scimitar in right hand, landscape background with 2 smaller galloping cavalrymen at left. Upright folio, matted; no margins; clean Title provided by cataloger.

A Turkish burial ground near Scutari Hospital May 1854

One of 7 original watercolors by H.S. Bush; grave stones surrounded by cyprus trees One of 7 original watercolors by H.S. Bush; grave stones surrounded by cyprus trees Lieut. Henry Stratton Bush of the 41st Welsh Regt. of Foot was at the Alma and the siege of Sebastopol--per dealer. Small oblong folio. Stow-on-the-Wold, Christopher Clarke Antiques, 2010 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/)

A True British Tar

A True British Tar

Brown University

Color lithograph after J.S.S., printed by L.M. Lefevre; young sailor, wounded, clinging to mast after nailing up flag during battle. Color lithograph after J.S.S., printed by L.M. Lefevre; young sailor, wounded, clinging to mast after nailing up flag during battle. Upright folio, matted; margins; soiled. N.Y., Rockman Prints, 1949.

A Triumphal Arch proposed to be erected at Hyde-Park-Corner commemorative of the Victories achieved by the British ar...

Color aquatint by J.A. Atkinson, T. Baxter and R. & D. Havell after Kinnard; carriage and four horses, view of large arch in roadway, troop of hussars riding through, 2 officers, man and woman walking in right foreground, tradeswoman walking with child, buildings in background. Color aquatint by J.A. Atkinson, T. Baxter and R. & D. Havell after Kinnard; carriage and four horses, view of large arch in roadway, troop of hussars riding through, 2 officers, man and woman walking in right foreground, tradeswoman walking with child, buildings in background. Large oblong folio, matted; margins trimmed. London, Parker Gallery, 1953.

A trip to Paris or John Bull and his spouse invited to the honors of the sitting!!

In her description of this sheet, Mary George notes that after the Peace of Amiens, English tourists traveled to France in large numbers. Using conventions of the "contrast print," the satirist juxtaposed three different national types: Napoleon, standing in for the French; John Bull, the consummate Englishman; and Hibernia, representing Ireland, England's reluctant "bride." Legs crossed and arms open in a gesture that beckons conversation, Napoleon sits easily in an elegant round-back chair. His elegant clothing--the typical blue uniform and black jack boots--and genteel manner contrast with his decidedly frumpy and uncouth visitors. John Bull and Hibernia perch on a green sofa that is clearly too small for their prepossessing girth. Napoleon, the flatterer, is overly polite in his attempts to win his foreign guests over with admiration. Bull, sitting between Napoleon and Hibernia, expresses himself in common, straightforward language, denying that he knows "any more of politeness than a Cow does of a new shilling!!" Indeed, Bull has failed to remove his hat, and is dressed in plain clothing suggestive of his middle-class origins. He sits with his large hands planted squarely on his knees, his legs spread apart to accommodate his large stomach. Hibernia, Bull's wife, chastises Bull for his lack of good breeding. Whereas Bull is dressed simply, Hibernia is rouged and dressed in clothing unbecoming her situation. She wears a low-cut dress layered in fabrics of yellow, white and blue; at her neck a frothy collar of lace is ornamented with a medallion bearing the Irish Harp. Hibernia's heft matches that of Bull, yet, the gaudy clothing and her eye-catching accessories--a fan and a plumed headdress--indicate her desire to appear above her social class. The original sheet has been mounted onto another sheet of heavier paper. The measurements above indicate first the size of the actual sheet; the mount measures 26 x 38 cm. In the lower left corner, at the bottom of the sheet, a triangle in graphite. In her description of this sheet, Mary George notes that after the Peace of Amiens, English tourists traveled to France in large numbers. Using conventions of the "contrast print," the satirist juxtaposed three different national types: Napoleon, standing in for the French; John Bull, the consummate Englishman; and Hibernia, representing Ireland, England's reluctant "bride." Legs crossed and arms open in a gesture that beckons conversation, Napoleon sits easily in an elegant round-back chair. His elegant clothing--the typical blue uniform and black jack boots--and genteel manner contrast with his decidedly frumpy and uncouth visitors. John Bull and Hibernia perch on a green sofa that is clearly too small for their prepossessing girth. Napoleon, the flatterer, is overly polite in his attempts to win his foreign guests over with admiration. Bull, sitting between Napoleon and Hibernia, expresses himself in common, straightforward language, denying that he knows "any more of politeness than a Cow does of a new shilling!!" Indeed, Bull has failed to remove his hat, and is dressed in plain clothing suggestive of his middle-class origins. He sits with his large hands planted squarely on his knees, his legs spread apart to accommodate his large stomach. Hibernia, Bull's wife, chastises Bull for his lack of good breeding. Whereas Bull is dressed simply, Hibernia is rouged and dressed in clothing unbecoming her situation. She wears a low-cut dress layered in fabrics of yellow, white and blue; at her neck a frothy collar of lace is ornamented with a medallion bearing the Irish Harp. Hibernia's heft matches that of Bull, yet, the gaudy clothing and her eye-catching accessories--a fan and a plumed headdress--indicate her desire to appear above her social class. The original sheet has been mounted onto another sheet of heavier paper. The measurements above indicate first the size of the actual sheet; the mount measures 26 x 38 cm. In the lower left corner, at the bottom of the sheet, a triangle in graphite. Published by Samuel W. Fores. 1802-05-14 Caption: May 14th 1802 by S W Fores 50 Piccadilly Dialogue: Napoleon, (l.): " Indeed Mr. Bull I am quite charmed with you--there is something so easy and polite in Your manners." John Bull, (center): " Come--come Mounseer Bonny-party thats all gammon d'ye see--D__n me of I know any more about politeness than a Cow does of a new shilling." Hibernia, (r.): "For shame Mr. Bull, what will the Jontleman think of your Blarney about Gammon and Cows and Bodder and Nonsense, by St. Patrick, I must send you to Kilkenny to learn good breeding." Inscription: Folios of Caricatures lent out for the Evening Printed Signature: W.S. scpt. Collector's Mark: A

A trip to Gretna Green

A trip to Gretna Green

Brown University

Hand-colored etched caricature by and after Rowlandson, published October 25, 1811; soldier and bride being married by comical-looking clergyman or blacksmith, outdoors, blacksmith shop at left, coach and coachman at right. Hand-colored etched caricature by and after Rowlandson, published October 25, 1811; soldier and bride being married by comical-looking clergyman or blacksmith, outdoors, blacksmith shop at left, coach and coachman at right. Small upright folio, matted; plate mark, margins; somewhat soiled. London, Parker Gallery, 1955.

A tous les coeurs bien nés que la patrie est chere

Mezzotint by Jazet after Vernet; melancholy grenadiers, gunners and lancers of Garde Impériale on cliff watching small ship in right distance carrying Napoleon to exile. Mezzotint by Jazet after Vernet; melancholy grenadiers, gunners and lancers of Garde Impériale on cliff watching small ship in right distance carrying Napoleon to exile. Large upright folio; matted giant folio; margins trimmed; clean, edges yellowed. London, Parker Gallery, 1953.

A tip top - Adjutant

A tip top - Adjutant

Brown University

One, uncolored of 19 colored (with three uncolored) engraved caricatures, published Feby. 11, 1779; one soldier (Captain Topham, Royal Horse Guards) in blue uniform with sword and hat marching. One, uncolored of 19 colored (with three uncolored) engraved caricatures, published Feby. 11, 1779; one soldier (Captain Topham, Royal Horse Guards) in blue uniform with sword and hat marching. Unbound; in red cloth portfolio, red leather backstrip label stamped gold; most clean, some worn.

A Swiss Landesknecht

A Swiss Landesknecht

Brown University

Wood engraving signed and dated by H.R.M. D(eutsch); standing figure in military dress with dagger, outdoors, holding cup or beaker. Wood engraving signed and dated by H.R.M. D(eutsch); standing figure in military dress with dagger, outdoors, holding cup or beaker. Upright folio, matted; margins severely trimmed; repaired tears; creased; foxing and soiled. Leichtenstein-Hauslab Collection, 1951.

A substitute for the Army of Reserve

Original unsigned watercolor (by Rowlandson); young soldier of fencible cavalry trying his helmet on country yokel in smock, young farm woman with pitcher looking on at right. Original unsigned watercolor (by Rowlandson); young soldier of fencible cavalry trying his helmet on country yokel in smock, young farm woman with pitcher looking on at right. Upright, inlaid in white paper mount, matted; no margins; clean. Chicago, W. Russell Button, 1954.

A stretcher party in Champagne, September 28th, 1914

One of a collection of 26 lithographs on paper by Pryse, all signed in pencil lower right; French North African soldiers and stretcher-bearers at sunset. One of a collection of 26 lithographs on paper by Pryse, all signed in pencil lower right; French North African soldiers and stretcher-bearers at sunset. Oblong folio. N.Y., Argosy, 2010.

A street in old Paris, 1750 (le pont au Change)

Color plate by Goupil after painting signed and dated 1898 by Leloir; city street scene showing pedestrians, shoppers etc., dismounted soldier standing with horses outside shop in right foreground. Color plate by Goupil after painting signed and dated 1898 by Leloir; city street scene showing pedestrians, shoppers etc., dismounted soldier standing with horses outside shop in right foreground. Giant upright folio; margins intact; somewhat soiled and worn.

A stoppage to a stride over the globe

This sheet depicts Napoleon straddling the globe; his left foot menacingly pointing towards England. Showing no concern for geographical accuracy, the satirist haphazardly includes Switzerland, France and Italy under Napoleon's stride. John Bull, at the left of the sheet, protects the borders of "Old England" and surprises Napoleon in his attempts at conquest. In an odd turn, the satirist has represented Napoleon as towering over John Bull; typically, it is Napoleon who is depicted in diminuative proportions. Note that Tegg has scratched out Blacklock's inscription at the bottom of the image. This sheet depicts Napoleon straddling the globe; his left foot menacingly pointing towards England. Showing no concern for geographical accuracy, the satirist haphazardly includes Switzerland, France and Italy under Napoleon's stride. John Bull, at the left of the sheet, protects the borders of "Old England" and surprises Napoleon in his attempts at conquest. In an odd turn, the satirist has represented Napoleon as towering over John Bull; typically, it is Napoleon who is depicted in diminuative proportions. Note that Tegg has scratched out Blacklock's inscription at the bottom of the image. Published by Thomas Tegg, 1807-01-01. British Museum, BM 9981. Originally published by Roberts on April 16, 1803, this sheet was reissued by Blacklock in May of 1806. Thomas Tegg's impression dates to the following year. Caption: Pubd by T. Tegg 111 Cheapside Jan [scratched out] Dialogue: Napoleon: "Ah, who is it dares interupt me in my Progress." Dialogue: John Bull: "Why 'tis I little Johnny Bull Protecting a little spot I clap my hand on, and d__n me if you come any Farther that's all." Plate Mark: 12

A standing toast in the Army

Hand-colored etched caricature (after I. Cruikshank), published March 17, 1809; officers standing around table drinking toast with upraised arms.The officer at the head of the table gives the toast: "Our Old Friend Mrs Clarke". The others exclaim: "Mrs Clarke!", one saying "Aye-Aye Mrs Clarke for ever D------me". Hand-colored etched caricature (after I. Cruikshank), published March 17, 1809; officers standing around table drinking toast with upraised arms.The officer at the head of the table gives the toast: "Our Old Friend Mrs Clarke". The others exclaim: "Mrs Clarke!", one saying "Aye-Aye Mrs Clarke for ever D------me". Oblong medium folio, matted; margins severely trimmed; clean. London, Maggs, 1953.