Handcolored Copperplate Engraving Showing a Perspective View of a Chinese Temple

Antique print, titled: 'The Fort Fredricksburg formerly to ye Danes and now Fort Royal (…).' - A three panel copperplate engraving showing three forts on the West African Gold Coast, Ghana; a) The Fort Fredricksburgh formerly to ye Danes and now Fort Royal. English at Manfroe, b) The Fort Amsterdam at Cormentyn belonging to ye Hollanders, c) The Fort James, English at Accra. From: "A Collection of Voyages and Travels" published by John and Awnsham Churchill in London in 1744. Artists and Engravers: Made by 'Johannes Kip' after 'A. Churchill'. Johannes Kip (b Amsterdam, 1653; d London, 1722). Dutch draughtsman, engraver and dealer, active in England. He was a pupil of Bastiaen Stopendaal (1636–1707) from 1668 to 1670. His earliest dated engravings are of 1672 (e.g. the Siege of Groningen , Hollstein, no. 4), and he supplied numerous plates for books published from that date onwards. His work brought him into contact with the court of William of Orange and in 1686 he produced six plates depicting William of Orange, his Wife and Attendants near The Hague (Hollstein, no. 5). Shortly after the Glorious Revolution of 1688 Kip followed the court to England. After settling in Westminster, he worked extensively for London publishers, engraving works after Francis Barlow, Caius Gabriel Cibber (e.g. Interior of the Danish Church in London , 1697; Hollstein, no. 6) and other London-based artists. His engravings were principally destined for book illustrations. The work for which Kip is best remembered is his large corpus...

Antique print titled 'Temple Chinois'. Old print depicting a temple in China. Source unknown, to be determined. Artists and Engravers: Made after J.C. Philips. Condition: Very ...

Antique print titled 'Dabul'. Old print of the port city Dabhol in India. In the 15th and 16th centuries, Dabul was an opulent Muslim trade center. Around 1660 it was annexed to the ...

Antique print titled 'L'Hermitage à Versailles - Labyrinthe d'Abano au Prince Mocenigo - Projet d'un Labyrinthe par Bettini'. Copper engraving showing a Labyrinth and the Hermita...

Antique print, titled: 'Vue du l'Interieur du Temple Chinois, a Coupang, Sur l'Ile Timor.' - ('View of the interior of the Chinese Temple of Coupang, Timor Island'). Source: 'Voyage ...

Antique print titled 'Mosquée - Autre Mosquée'. Copper engraving showing two mosques. This print originates from 'Jardins Anglo-Chinois à la Mode' by Georg Louis le Rouge. Ar...

Hand-colored copperplate engraving depicting an interesting old view of Copenhagen seen from Frederiksberg Castle Gardens, approximate. 1790-1800. Framed in a mahogany frame from sam...

Copperplate engraving of the nativity printed on hand laid paper. The piece has an incredible level of fine detail for the diminutive size of the work. ...

In original condition. Page 33, 'The History of London from its Foundation by the Romans to the Present Time', by William Maitland, published in 1739....

Fine 18th century engraving of a stag, after the hunt, with a magnificient dog at rest, in a country scene, beautifully depicted.

Cartographer from Germany 1678-1757. Hand colored. Gilt wood frame. Estate of William Hodgins.

Presented here is an 1876 engraving of John B. Bachelder and James Walker’s Gettysburg. The Repulse of Longstreet’s Assault. The engraved scene depicts the decisive battle on the final day of the Battle of Gettysburg. Researched by the photographer and topographer John B. Bachelder and painted by James Walker, the original painting was created in 1870. This detailed engraving was done by H. B. Hall Jr. and published by James Drummond Ball. Otherwise called Pickett’s Charge, the battle occurred on July 3, 1863. Pickett’s corp commander, Lieutenant General James Longstreet was placed in charge of the attack despite his hesitations. Longstreet’s central role led to the title of the work, Repulse of Longstreet’s Assault. In an attempt to gain control of an important supply route, nine Confederate brigades charged across three-quarters of a mile of open ground against cannon fire to take Cemetery Ridge from the defending Union Army. Despite their overwhelming numbers, the Confederate forces were repelled with considerable casualties marking not only a decisive victory for the Union, but also the beginning of the slow defeat of Lee’s Army. The furthest the charging forces advanced before being repulsed would forever be known as the “High Water Mark of the Confederacy.” The Confederate army never recovered from the losses at Gettysburg and it effectively ended Lee’s campaign into Pennsylvania. The engraving gives the perspective from the Union rear, one that encompasses most of the battlefield, from Big Round Top on the left to the northern reaches of Cemetery Ridge on the right. The Confederate lines at Seminary Ridge are in the far distance, partially obscured by bursting shells. The image centers on the main Confederate assault, in the vicinity of what today are known as "The Copse" and "The Bloody Angle." The composition has elemen...