Old Original Engraving of Joseph Tempted to Whoredom, 1728

Antique religion print titled 'Jephthah's daughter meets him at the door of his house'. The story of Jephthah’s Daughter (Judges 11) tells us that Jephthah the Gileadite made a v...

This exceptional antique map, titled "Nouvelle Carte Marine de Toute les Cotes de l´Amerique" and alternatively known as "Nieuwe groote en seer Curieuse Paskaart van Geheel-WestIndie...

Antique print titled ‚Zegel der stad Lubek (..)’. Seals of the city of Lubeck and others: Stavoren, Amsterdam (8x), van Amstel, Persijn (..). This print originates from ‘Amsterda...

Antique map titled 'Novus Brasiliae Typus'. Fine old color example of Blaeu's first map of Brazil, with north oriented to the right. Includes inset map of Baya de todos Santos, elaborate cartouche, 2 compass roses and richly embellished vignettes of native Brazilian life and animals. The interior of the map includes vignettes of indigenous animals and native scenes, including cannibalism. Inset within a decorative border is a small map of "Baya de todos Sanctos". In the sea are monsters, a galleon and two compass roses. The large title cartouche features a male and female Brazilian, both of whom are shown naked. Willem Janszoon Blaeu (1571-1638) was a prominent Dutch geographer and publisher. Born the son of a herring merchant, Blaeu chose not fish but mathematics and astronomy for his focus. He studied with the famous Danish astronomer Tycho Brahe...

Description: Antique print, untitled. Bird's-eye plan of Amsterdam portrayed on a sheet of German text. Remarkably detailed for its size, hundreds of individual buildings and hou...

Rare Antique print, titled: 'Cangoxuma.' A stunning bird's eye view of the coastal city Cangoxuma (Kagoshima) in Japan. It shows several boats in the harbour, as well as the ligh...

Cricket print of Joseph Guy of Nottingham. A framed, tinted and hand colored lithographic portrait of the All- England cricketer Joseph Guy (1813 - 187...

Set of 3 Architectural ornament engravings from the folio by James Gibbs. Published by Bowyer, London, 1728. Unframed, age toning, edge wear, small edge loss.

These hand colored engravings are old English crests/coats of arms -- two in each frame: Ashburnham & Effingham; Portland & Manchester; Northington & Radnor; and Peterboro & Hamford....

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...