The Great Republic Wall Decorations

Presented is a very early description of the City of Washington, as the planned Federal capital city. The article, written by an anonymous "Spectator,” was published in the October 8...

This is a large, handsome engraving entitled Washington and His Generals by Alexander H. Ritchie, one of the best historical printmakers of the mid-nineteenth century. Ritchie is par...

Presented is a handsome etched portrait of President Theodore Roosevelt by 20th century artist Jacques Reich. The etching, printed in 1919, is signed by the artist in pencil and noted as a remarque proof. Reich etched a remarque of a blue star flag...

Presented is an original 1865 engraving Pres. Lincoln and Family, depicting the Lincoln family in April of 1865. The artist Francis Schell painted the original work, A. B. Walter eng...

Presented is an original 1893 etching by George Aikman, after an original watercolor by John Smart. This composition depicts golfers, accompanied by young caddies and families, playi...

Offered is a vintage travel poster from the 1960s, advertising Braniff International Airlines. The work depicts Texas as one of Braniff's alluring travel destinations. The side profi...

This historical and rare item celebrates one of the most influential writers, politicians, and American Revolutionary figures, Thomas Jefferson. Featured is a four-page facsimile ste...

Presented is one of the most important historical prints ever published, "The Death of General Wolfe," an engraving by William Woollett, after the painting of the same title by Benja...

Presented is an engraving entitled “The British surrendering their arms to Gen. Washington after their defeat at Yorktown Virginia October 1781.” The dedication continues in the bottom margin, “To the defenders of American independence, this print is most respectfully inscribed by their fellow citizen, Jn. Fcis. Renault, assistant secretary to the Count de Grass, and engineer to the French Army, at the siege of York.” The engraving is after a painting by John Francis Renault, and engraved by Tanner, Vallance, Kearny & Co. and William Allen, in Philadelphia in January of 1819. This historic print depicts the surrender of the British forces after the Battle of Yorktown. The print shows Lord Cornwallis offering his sword to the Duke de Lauzun, who defers the weapon to General Washington. British officers stand with Cornwallis on the right and French and American officers are shown at center and left. The immediate background is filled with an elaborate allegorical scene. Behind the British troops is a female representation of “Discord,” wearing a billowing robes and liberty cap and floating on storm clouds, as she sends lightning bolts to up-end the British people and a chariot below her. Behind the American and French officers, “Prosperity” stands next to an overflowing cornucopia, with “Justice”, an infant child with a paddle inscribed “American Constitution,” representing the helm of statehood. They crowd around a neoclassical monument with a giant urn...

Presented is an original women's suffrage ballot broadside, dating to 1917. The printed broadside advocates for the adoption of women's suffrage, with “VOTE ON THE Woman Suffrage Ba...

This is a stunning 1818 engraving of the Declaration of Independence, the first engraved broadside of our nation’s founding document. The year 1815 saw the conclusion of the United S...

Presented is a charming, hand colored engraving of “The President’s House, From Washington.” The engraving is after William Henry Bartlett’s “The President's House, From The River,” ...

Presented is a charming, hand colored engraving of “View of the Capitol at Washington.” The engraving is after William Henry Bartlett’s engraving o...

Offered is an original World War II poster by Newell Convers Wyeth (1882-1945). The poster features bold lettering at bottom reading "Buy War Bonds," with a dynamic depiction of Uncl...

This is an original World War II Marines recruitment poster, issued in 1942 and illustrated by Paul Woyshner. The poster depicts a swooping bald eagle and the outline of the United States map...

Presented is an original National Woman Suffrage broadside, titled “What is the Federal Suffrage Amendment?” The document was published in New York, in February of 1917 by the National Woman Suffrage Publishing Company, Inc. Published just three years before the 19th Amendment was passed, this rare broadside advocates for women’s right to vote on a national level. The document lists states that have already passed women’s suffrage...

Presented is a vintage WWII War Bonds poster by Boris Chaliapin. Printed in 1944 by the U.S. Government Printing Office, the poster features General Dwight D. Eisenhower at the cente...

This is an original WWII poster by Allen Saalburg, published in 1942. The poster features a tattered American flag at half-mast, with billowing smoke, flames, and a partially obscur...

This is an original World War II Marines recruitment poster from 1942. The poster, a color lithograph, was printed by the Alpha Litho. Co., out of Camden, NJ. In the center of the composition appears a striking blue eagle, which tears apart a Japanese plane with its talons. The poster displays the slogan "Wear the FIGHTINEST wings in the service, Fly with the Marines" in bold letters above and below the image. On the bottom in black lettering is the phrase: "Apply, or write, to nearest recruiting station." The Marines logo appears in yellow in the top right hand corner of the composition, set against a red background. The Second World War ushered in the biggest government-led advertising campaign to date, critical to the wartime communication needs of every combatant: from raising money, recruiting soldiers and boosting volunteer efforts, to spurring production and provoking outrage at enemy atrocities. The Office of War Information (OWI) commissioned some of the nation’s leading artists to produce the stark, colorful graphic designs. The posters played to the fears, frustrations, and faith in freedoms that lingered in people's minds during the war. The most common themes found in the posters were the consequences of careless talk, supporting the war effort at home through conservation, victory gardens, and the purchasing of War Bonds, and anti-German and Japanese propaganda...

This is an original 1960 "Johnson for Vice President" campaign poster. This poster was an iconic part of Kennedy and Johnson’s campaign in 1960. The poster featured a black and white...

This is an original 1960 campaign poster for Democratic-nominees John F. Kennedy and Lyndon B. Johnson, elected as our 35th President and 37th Vice President. This poster was an inte...

This is an original World War II Marines recruitment poster from 1942. The poster, a color lithograph, was printed by the Alpha Litho. Co., out of Camden, NJ. In the center of the composition appears a striking blue eagle, which tears apart a Japanese plane with its talons. The poster displays the slogan "Wear the FIGHTINEST wings in the service, Fly with the Marines" in bold letters above and below the image. On the bottom in black lettering is the phrase: "Apply, or write, to nearest recruiting station." The Marines logo appears in yellow in the top right hand corner of the composition, set against a red background. The Second World War ushered in the biggest government-led advertising campaign to date, critical to the wartime communication needs of every combatant: from raising money, recruiting soldiers and boosting volunteer efforts, to spurring production and provoking outrage at enemy atrocities. The Office of War Information (OWI) commissioned some of the nation’s leading artists to produce the stark, colorful graphic designs. The posters played to the fears, frustrations, and faith in freedoms that lingered in people's minds during the war. The most common themes found in the posters were the consequences of careless talk, supporting the war effort at home through conservation, victory gardens, and the purchasing of War Bonds, and anti-German and Japanese propaganda...

Presented is a 1950 vintage Defense Bonds poster, illustrated by Gary Orr. The horizontal poster depicts a billowing 48-star American flag, in front of an orange and blue sky. The te...

Presented is a handsome engraved portrait of George Washington by artist H. B. Hall. This engraving was published in New York, in a limited edition of 125 impressions. The engraving is based on a painting by William Birch Gilbert Stuart, a small miniature in enamel, completed in 1796. Birch painted Washington from life in his office in Philadelphia, by the request of I. G. Van Staphorst, Esqr. of Amsterdam. In the small portrait, Washington is depicted in a head and shoulders pose, facing right. He wears a dark coat and vest and a white shirt and ruffled cravat. The father of our country, George Washington was the commander in chief of the Continental Army during the American Revolutionary War (1775-83) and served two terms as the first United States president...

Presented is a handsome lithographed portrait of George Washington. This lithograph is based on a painting by Gilbert Stuart, the famous “Athanaeum” bust portrait from 1796. Washington is depicted in a head and shoulders pose, positioned left but looking center. He wears a dark coat and vest and a white shirt and ruffled cravat. The father of our country, George Washington was the commander in chief of the Continental Army during the American Revolutionary War (1775-83) and served two terms as the first United States president...

Presented is a handsome engraved portrait of George Washington by Italian artist Giuseppe Longhi. Titled “Georgius Washington” this engraving was published in Padua, Italy in 1817. The composition is based on a drawing by Longhi himself, but certainly influenced by the Gilbert Stuart and John Trumbull portraits. Washington is depicted in a head and shoulders pose, with his chest to the left but his head angled to the right. He wears a dark coat and vest and a white shirt and ruffled cravat. The father of our country, George Washington was the commander in chief of the Continental Army during the American Revolutionary War (1775-83) and served two terms as the first United States president...

Presented is a beautiful folk art carved and painted spreadwing eagle. This early 20th century wood eagle is gilt-brushed with a painted red, white, and blue shield. It supports a sh...

Presented is a carved wooden figural bust wall hanging of Thomas Jefferson, circa early 20th century. This is an incredibly well-detailed carved depiction of young Jefferson. The bus...

Presented is a patriotic “New York” silk and metallic thread embroidered souvenir, dating to the early 20th century. The souvenir is a glorious and intricate crafted depiction of the...

This 1864 engraving features the Emancipation Proclamation in elaborate calligraphic text, with five patriotic vignettes and a small portrait of Lincoln. This is the second issue of ...

This colorful map of the United States was drawn by Lorin Thompson and published by the General Foods Corporation in 1960. The map was issued as a promotional pamphlet in advance of the 1960 presidential election. The cover title for the pamphlet reads: "Election Map and 1960 Presidential Fact Sheet...Yours Free with Any Purchase of Gravy Train." The map has a unique pictorial style with bright colors and dynamic illustrations celebrating key moments of American history. The map is illustrated with past presidents, Native Americans, depictions of the "Golden Spike...

Presented is a color photogravure by James Michael Brown entitled “In the Sand”. The print depicts two golfers with their young caddies on the historic St. Andrews golf course. One p...

Presented is a vintage WWII War Bonds poster, printed in 1942. In the poster, a confident woman sets out with conviction to buy war bonds, her hand over her pocketbook. As the woman ...

Presented is an original, hanging wall chart from the 1955 “History of Life on Earth” series by Austrian paleontologist Erich Thenius and illustrator Fritz Zerritsch. The series consists of ten paintings that show the progression and evolution of mammals, invertebrates, and plants over time. This specific scene is the tenth and final composition. Titled “Quartär Eiszeit-Landschaft” (translated: Quaternary - Ice-age landscape)” the composition features two woolly mammoths walking single file across a snowy, boulder strewn landscape. A herd of caribou is in the background. Small inset illustrations in the lower margins included a numbered key to the animals, plants, and fossils from that time period. “The History of the Life on Earth” suite series was first conceived as a way to illustrate University of Vienna paleontologist Erich Thenius’ 1955 book “Die Geschicte des Lebens auf der Erde.” Thenius chose the Viennese landscape artist Fritz Zerritsch to produce the illustrations for this book. Resulting in a final completed suite of ten paintings, the suite “represented biotas and ecosystems present in different geologic time.” Starting with the Early Paleozoic period and ending with the Quaternary period, the scenes range from landscapes to underwater marine scenes. Stylistically, Thenius and Zerritsch drew inspiration from well known paleoartists Rudolph Ballinger and Charles R. Knight. Black and white versions of Zerritsch’s original paintings were included in the back of the book and were referenced throughout the text. The paintings were also mass produced as classroom teaching aids in the form of roll-up wall charts, as seen here. In German-speaking countries, both the book and the hanging wall charts were marketed together. The wall charts were printed by Hofmanndruck Wein, a Viennese printing company. In the United States, the wall chart series was distributed by Denoyer-Geppert Co., an American company specializing in maps, atlases...

Presented is an original WWII U.S. Crop Corps recruitment poster. Designed by Douglas, this poster was issued by the Office of War Information in Washington DC, in 1943. In the compo...

This color print of On The March to the Sea by Felix O.C. Darley, and engraved by A.H. Ritchie, is a stunning portrayal of William T. Sherman’s notorious Georgia Campaign. Originally...

This is an original World War II Marines recruitment poster, designed by Joe Richards. The poster, a color lithograph, was issued on November 28, 1941, less than 10 days before the a...

Presented is “U.S. Flag Behind Capitol,” an original mixed-media painting by American artist Ron Sloan. The drawing shows an intricately detailed rendering of the front entrance to the United States Capitol building. Behind the Capitol is a large, waving American flag, set outside an orange-hued rounded rectangle. Sloan created this stunning artwork in February of 1985, for use on the Fleetwood First Day Cover of the 22 cent “Flag Over Capitol” stamp, issued in March of that same year. The painting depicts the iconic neoclassical building from the east orientation, with it’s dome towering overhead. Plans began in May of 1854 to build a new cast-iron dome for the United States Capitol. The then-architect of the Capitol Thomas Walter and his team were sold on the aesthetics of a new dome, as well as the utility of a fire-proof one. A year later, on March 3, 1855, President Franklin Pierce signed off on the appropriation of $100,000 to build the dome. Construction began in September of that year with the removal of the first dome raised by Charles Bulfinch. Over the next 11 years, the dome rose over the nation's capital. By December of 1863, Walter was able to set the bronze sculpture “Statue of Freedom” atop the dome. Thomas Walter resigned in 1865 and his replacement, Edward Clark, assumed the role of finishing the last aspects of the dome. Just over a month later, in January 1866, Constantino Brumidi, who had been hired to paint a fresco above the interior dome's oculus, removed the scaffolding used...

Presented is “Statue of Freedom,” an original chalk drawing by American artist Tom Lydon. The drawing shows an intricately detailed rendering of the ...

Presented is an original oil-on-canvas painting of a football game by American artist Jay Cooper. In the composition, two football players, donned in red jerseys, run the ball agains...

Presented is a handsome photogravure of "A Difficult Bunker" by sporting artist Douglas Adams. "A Difficult Bunker" is one in a famous trio of three paintings depicting the links at ...

This is a vintage Grand Canyon travel poster for the Santa Fe Southern Railway, issued in 1949. The poster promotes railroad travel...

This is an original American Airlines travel poster from the 1960s advertising Philadelphia as one of their alluring destinati...

This is an original World War II Marines recruitment poster, issued in 1942. The poster depicts a uniformed Marine, standing strong and proud at attention. The persuasive text reads ...

This is an original World War II Marines recruitment poster, issued in 1940. The poster depicts a no-nonsense Marine drill instructor, pointing directly at the viewer, in front of a ...

Presented is a vintage U.S. Army Air Forces recruitment poster from WWII. The poster was published in August of 1943 by the Recruiting Publicity Bureau....

Presented is a vintage WWII U.S. Army poster of a Martin B-26 Marauder bomber plane. The poster was published by the Recruiting Publicity Bureau in 1943. The poster depicts a B-26 fr...

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...

Presented is a fine photogravure portrait of Bear’s Teeth of the Arikara tribe by Edward Curtis. The image is Plate 154 from Supplementary Portfolio 5 of Edward Curtis' epic project The North American Indian. The caption, written by Curtis, for this image is as follows: “A member of the Night order of the medicine fraternity.” This photogravure was published in 1908 and was printed by John Andrew & Son, in Boston. Edward S. Curtis created one of the most enduring and iconic visual records in the history of the photographic medium. He was an award-winning artist, a consummate craftsman, a visionary, an intrepid entrepreneur, and was highly regarded as a respected ethnographer and publisher. Curtis began photographing Native Americans in the mid-1890s and selling these images in his successful downtown Seattle studio. One of his earliest models was Princess Angeline, the aged daughter of chief Sealth, the Suquamish Indian after whom Seattle is named. At the National Photographic Convention of 1899 Curtis was awarded the grand prize for three of his soft-focused, sepia-toned images of Puget Sound Native Americans: Evening on the Sound, The Clam Digger, and The Mussel Gatherer. Curtis spent the summer of 1900 with George Bird Grinnell observing the Sun Dance at an encampment of Blood, Blackfeet, and Algonquin in Montana. This was a pivotal experience for Curtis, confirming his desire to study and photograph the Native tribes of North America. A trip to visit the Hopi reservation in Arizona a few months later further fueled his enthusiasm. Curtis envisioned a plan to create a massive scholarly and artistic work that would document the tribes west of the Mississippi, their ceremonies, beliefs, daily life, and landscapes. In 1906, Curtis approached railroad tycoon J.P. Morgan to request financial assistance for his project. Morgan agreed to pay him a total of $75,000, or $15,000 a year for five years. Morgan and Curtis decided that Curtis' masterwork, The North American Indian, would be a set of 20 volumes of ethnographic text illustrated with high quality photoengravings taken from his glass plate negatives. Each of these volumes would be accompanied by a portfolio of large size images, all sumptuously bound in Moroccan leather. The papers used for printing would also be of the best quality: a Dutch etching stock by Van Gelder, a Japanese vellum, and for the most discerning subscribers, a translucent Japanese tissue paper. To fund publication, Curtis would sell subscriptions at approximately $3,000 per set, with a total of 500 sets to be published. An ambitious and extensive project, Curtis spent much of his life documenting as many Native tribes as possible. The importance and the urgency of the task was clear to him, as he wrote in the introduction to his first volume of The North American Indians in 1907, "The information that is to be gathered ... respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost." In 1930, some 24 years after his initial request for funding, the last two volumes, Vol. 19 and Vol. 20, were published and The North American Indian project was finally completed. Curtis took over 40,000 photographs and made over 10,000 wax...

Presented is a fine photogravure portrait of an Ogalala woman by Edward Curtis. The image is Plate 94 from Supplementary Portfolio 3 of Edward Curtis' epic project The North American Indian. The caption provided by Curtis for this image is “A face so strong that it is almost masculine, showing strikingly how slight may be the difference between the male and female physiognomy in some Primitive people.” The photograph was taken in 1907 and the photogravure was published in 1908 by John Andrew & Son, in Boston. Edward S. Curtis created one of the most enduring and iconic visual records in the history of the photographic medium. He was an award-winning artist, a consummate craftsman, a visionary, an intrepid entrepreneur, and was highly regarded as a respected ethnographer and publisher. Curtis began photographing Native Americans in the mid-1890s and selling these images in his successful Downtown Seattle studio. One of his earliest models was Princess Angeline, the aged daughter of chief Sealth, the Suquamish Indian after whom Seattle is named. At the National Photographic Convention of 1899 Curtis was awarded the grand prize for three of his soft-focused, sepia-toned images of Puget Sound Native Americans: Evening on the Sound, The Clam Digger, and The Mussel Gatherer. Curtis spent the summer of 1900 with George Bird Grinnell observing the Sun Dance at an encampment of Blood, Blackfeet, and Algonquin in Montana. This was a pivotal experience for Curtis, confirming his desire to study and photograph the Native tribes of North America. A trip to visit the Hopi reservation in Arizona a few months later further fueled his enthusiasm. Curtis envisioned a plan to create a massive scholarly and artistic work that would document the tribes west of the Mississippi, their ceremonies, beliefs, daily life, and landscapes. In 1906, Curtis approached railroad tycoon J.P. Morgan to request financial assistance for his project. Morgan agreed to pay him a total of $75,000, or $15,000 a year for five years. Morgan and Curtis decided that Curtis' masterwork, The North American Indian, would be a set of 20 volumes of ethnographic text illustrated with high quality photoengravings taken from his glass plate negatives. Each of these volumes would be accompanied by a portfolio of large Size images, all sumptuously bound in Moroccan leather. The papers used for printing would also be of the best quality: a Dutch etching stock by Van Gelder, a Japanese vellum, and for the most discerning subscribers, a translucent Japanese tissue paper. To fund publication, Curtis would sell subscriptions at approximately $3,000 per set, with a total of 500 sets to be published. An ambitious and extensive project, Curtis spent much of his life documenting as many Native tribes as possible. The importance and the urgency of the task was clear to him, as he wrote in the introduction to his first volume of The North American Indians in 1907, "The information that is to be gathered . respecting the mode of life of one of the great races of mankind, must be collected at once or the opportunity will be lost." In 1930, some 24 years after his initial request for funding, the last two volumes, Vol. 19 and Vol. 20, were published and The North American Indian project was finally completed. Curtis took over 40,000 photographs and made over 10,000 wax cylinder...

Presented is a much sought-after, limited edition lithograph entitled Moonwalkers by Ron Lewis. This piece of space history contains the original signatures of eleven of the twelve American astronauts who stepped onto the Moon's surface. Signed in felt tip blue ink by their portraits are the original autographs of Buzz Aldrin, Alan Bean...

Presented is an original autographed poster from a 1973 issue of National Geographic magazine, celebrating the historic Apollo missions from the fir...

Presented is a collage of three vintage cabinet card photographs of the Garden of the Gods, in Colorado dating to the 1890s. The sepia toned photo...

Presented is a collage of six vintage cabinet card photographs of Colorado Springs and its surrounding areas, dating to the 1890s. The sepia toned...

This original wood engraving is titled “The Restaurant of the House of Representatives, Washington, DC.” It was published as a double-page image, in the August 12, 1893 issue of the famous 19th century newspaper Harper’s Weekly. The print was illustrated by Charles Stanley Reinhardt. The House Restaurant, a unique part of life in the Capitol, has been in the same location since the 1857 Capitol Expansion. Congressional members’ busy work schedule made the availability of food on site a necessity. But the restaurant also served as an informal meeting spot for members to continue conversations and deal making. This 1893 print illustrates the convivial atmosphere. Details including elegantly dressed tables...

Presented is an Apollo 16 mission photograph, signed and inscribed by Apollo 16 moonwalker Charlie Duke. The photograph shows Duke collecting lunar samples n...

Presented is a patriotic silk scarf, celebrating the Declaration of Independence. At center of the silk scarf design is artistic rendering of the Declaration of Independence. The famous text and signatures are printed in black ink on white silk. A border of bright red encloses the text, with a five-pointed white star set against a blue square appearing at each corner. This is a newly made silk scarf, printed to celebrate our Nation's foundational text. The United States Declaration of Independence...

Evans, C.S. (editor). Rackham, Arthur (illustrator). The Sleeping Beauty. London and Philadelphia: William Heinemann & J.B. Lippincott Co., 1920. F...

Presented is a photograph of the Phoenix Lander on Mars, signed and inscribed by Apollo 16 moonwalker Charlie Duke. In the inscription, Duke shares his thoug...

Presented is a vintage U.S. Army recruitment poster, dating to World War I. The poster depicts an Army officer conferring with a soldier. They stand next to an artillery battery, manned by two soldiers. Their fort looks over a cliff, with water and clouds completing the background. The text "Men Wanted for the Army" is printed in bold red letters at the top of the poster. The bottom margin of the poster includes a cartouche where the name of the recruiting station can be filled in. The color lithograph was illustrated by Michael P...