Eugene Maxime Vallée Furniture

19th Century. Impressive book Works illustrated with gorgeous stickers and engravings depicting historical and mythological scenes momuments and copied art objects of the most auth...

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...

Masterpieces of English Furniture: The Gerstenfeld Collection by Edward Lennox-Boyd. Christies books, 1998 1st Edition thus hardcover with dust jacket. A unique collection of 18th ce...

A beautiful catalogue which was published in 1995, still in the original slipcase, to coincide with an exhibition of the collection of the Museum of Classical Chinese Furniture in San Francisco...

Masterpieces of Impressionism & Post-Impressionism - The Annenberg Collection. Softcover book, published in 1989 in conjunction with the exhibition at The Philadelphia Museum of Art....

Only the Best, Masterpieces of the Calouste Gulbenkian Museum, Lisbon. Hardcover book with dustjacket, published by The Metropolitan Museum of Art, in conjunction with the exhibition...

Masterpieces from the House of Fabrege by Alexander von Solodkoff. 1st Ed hardcover with dust jacket. Iillustrated throughout in color with items most...

The map is of "Independent Tartary," a historical region in Central Asia that covered parts of what are now Kazakhstan, Uzbekistan, Turkmenistan, and surrounding areas. The map was p...

Masterpieces of Painting in the J. Paul Getty Museum. Published by J. Paul Getty Museum, 1980. 1st Ed softcover. Rooted in a passion for the Italian Renaissance as well as Dutch and ...

Vincent Van Gogh Masterpieces of Art by Stephanie Cotela Tanner. Hardcover Art Book Page count:128 Published:June 12, 2014 Contributor:Susie Hodge Format:Hardcover Publisher:Flame Tree Publishing Language:English Author:Stephanie Cotela Tanner Part of a new series of beautiful gift art books, Van Gogh Masterpieces of Art features all of the best-known works of one of the most famous artists in the world, preceded by a fresh and thoughtful introduction providing lively commentary on his life, society, places and style and techniques, including the powerful animation of his strident brushwork. "He did not paint his pictures; it was like he exhaled them in a gasping, boiling breath," one German critic aptly wrote of Van Gogh. Reminiscences of the artist by friends and passing acquaintances, letters from his brother Theo and appreciations by critics and artists make up the text of this handsomely packaged potpourri. For Margritte, the blind force of Van Gogh's obsessions made the tortured artist an unfree man. To Kokoschka, the tension in the painter's famous sunflowers and undulating cypresses speak of the fragility of an easygoing lifestyle in a mechanized age. Each artist seems to confront his or her own concerns when analyzing Van Gogh. Jean Renoir, Francoise Gilot, Gauguin and Klee are among the commentators. One hundred twenty-five superior color reproductions and 103 halftones remind us that Van Gogh could do a very formal Still Life with Coffeepot, a street scene ablaze with fauve-like color or the solemn, biblical Raising of Lazarus...

Description: Antique print, titled: 'Meleager in Aedibus Pichinys.' Statue of Meleager in Rome. In Greek mythology, Meleager was a hero venerated in his temenos at Calydon in Aetolia. He was already famed as the host of the Calydonian boar hunt in the epic tradition that was reworked by Homer. From the 1660 Dutch edition of 'Icones et Segmenta Nobil. Signorum et Statuarum quae Romae extant' by Francois Perrier...

Antique map titled 'Carte des Découvertes faites dans la Mer Pacifique sur la Vaisse au de Roi, La Resolution, Commandé par le Capitaine Cook en 1774'. Chart detailing the 1774 voyag...