Engraving of A Savage of the Admiralty Isles in the Bismarck Archipelago, 1801

Antique print titled 'Trois Vues des Isles de l'Amirauté (..)'. Several coastal views of the Admiralty Islands. Originates from 'Geschichte der See-Reisen und Entdeckungen im Süd-Mee...

Antique map titled 'Trois Vues des Isles de l'Amirauté'. Several coastal views of the Admiralty Islands, Bismarck Archipelago, to the north of New Guinea in the South Pacific Ocean. ...

Antique print titled 'Neuirrland, Bewohner v. Hafen Carteret'. Male native of the Bismarck Archipelago, seated on an overgrown rock, two fellow tribesmen on the right, one with a pla...

Antique print titled 'Neuirrland, Bewohner v. Hafen Carteret'. Male native of the Bismarck Archipelago, seated on an overgrown rock, two fellow tribesmen on the right, one with a pla...

Antique map titled 'Nova Hibernia'. Antique map of New Ireland, an island in the Bismarck Archipelago, New Guinea. Lying just north of New Britain, from which it is separated by St. ...

Title: Vue d'une partie des deux Branches de la Cataracte de Niagara. Dirigé par P.F. Tardieu, Place de l'Estrapade No. 18. Upper Left: Pl.VIII, Tom.II Pag.192. Lower Left: Bonfil...

This dramatic Revolutionary War engraving of the Battle of Bunker Hill is after the famous 1785 oil-on-canvas by John Trumbull. Capturing the intensity of the battle, the engraving centers on Major John Small restraining a “lobster-back” from bayoneting Major General Joseph Warren. Warren lies mortally wounded in the midst of chaos around him. In the background, British forces are seen cresting the last defenses of the brave, yet green army of Colonial soldiers. The Battle of Bunker Hill was fought on June 17, 1775, in the early stages of the American Revolutionary War. The battle is named after Bunker Hill in Charlestown, Massachusetts. Although it was the original objective of both the Colonial and British troops, the area was only peripherally involved in the battle. Rather, the majority of the combat took place on the adjacent Breed’s Hill. The battle pitted a more organized British force against a young and inexperienced American militia. Although considered a tactical victory for the British, it came at the cost of considerable casualties, including a large number of officers. The battle demonstrated that the inexperienced American militia was able to stand up to the British army troops in battle. The battle results discouraged the British from any further frontal attacks against well-defended front lines. American casualties were comparatively fewer, although their losses included Gen. Joseph Warren. During the battle, the patriot-turned-painter John Trumbull (1756-1843) was stationed in Roxbury on the far side of Boston, where he could hear the sounds of fighting. In late 1785, Trumbull decided to devote himself to the depiction of Revolutionary War scenes, a series of eight epic pictures. From the beginning, Trumbull intended for the paintings to be later engraved for sale. Trumbull began the oil-on-canvas of The Death of General Warren at the Battle of Bunker’s Hill and The Death of General Montgomery in the Attack of Quebec, in the studio of Benjamin West in London. Bunker’s Hill was completed in March 1786; Trumbull started Attack of Quebec in February 1785 and finished it before he brought it to Paris in 1786. He then started The Declaration of Independence at Thomas Jefferson's house in Paris. As soon as Bunker’s Hill was completed, Trumbull searched for a suitable engraver in London. He was unsuccessful, as many British engravers were nervous about engraving an American battle...

A large, nicely-framed Italian hand-colored engraving in tones of terracotta and black (17th century, with more recent matte and frame) by Pietro Bartoli. The engraving depicts the mosaic ceiling in the church of Santa Costanza outside of Rome, which was studied by the ecclesiatical archaeologist Giovanni Ciampini. The mosaic ceiling no longer exists, but is known through various depictions of the artwork, such as this engraving. The images include Christian imagery including the sacrifice of Cain and Abel and possibly Noah building the ark. The upper row of mosaics is believed to represent scenes from the New Testament, with caryatids dividing the ceiling into twelve segments. The engraving is captioned in Latin: "Opus Musiuum olim in tholo Templi, quod vulgo creditur Bacchi, nunc Sancte Constantie extra Portam Piam cariatides, et Telamones in duodecium dividant Segmenta, ubi plura autumnales ferias, et piscationis Genium demostrant, iuxta interpretionem Ciampini qui mediatatem exhibet Veterum monum." In the 17th century, the church of Santa Costanza was known as the "Temple of Bacchus," and was the site of rowdy Bacchic festivals until Pope Clement XI banned the rites in 1720. Pietro Santo...

Giovanni Battista Piranesi, Italian 1720-1778) Engraving on wove paper depicting an ancient Roman funeral monument in the form of a cornucopia from the Via...

This engraving represents the National Assembly in the night of August 4 and 5, 1789 realized by Isodore Stanislas Herman after the work of Charles Monnet...

Presenting a lovely 19C engraving of Lake Gaube in the Pyrenees by T Allom. From circa 1850. Besautiful depiction of Lake Gaube or Lac de Gaube in the F...

Great image of a stag Copper-plate engraving Published by Bunny and Gold . Dated 1801 Unframed.