Antique Engraving of Chinese Deities, 1808

Antique print titled 'Pagode pris de Sou-tchéou - Fou-hi - Divinité Chinoise'. Print of a Chinese pagoda and Chinese deities. This print originates from ...

Antique print titled 'Dio della Voluttà, Dell'Immortalita'. Lithograph of statues of Chinese Deities: Kin-gan or Chin-hoan, god of tutelage, Ni-ni-fo or Fo-tek god of voluptuousness,...

Antique print titled 'Plan d'un Jardin Chinois à Quanton, Fête des Morts à Macao'. Two images on one sheet depicting a Chinese garden and Festival of the Death in Macao. Originat...

Antique print titled 'Costume Chinese'. Print of Chinese costumes. Source unknown, to be determined. Artists and Engravers: Anonymous. Condition:...

Great map of China Drawn under the direction of Arrowsmith Copper-plate engraving Published by Longman, Hurst, Rees, Orme and Brown, 1820 Unfr...

Golf mezzotint of 'Henry Callender Esq' (Captain of the society of Golfers at Blackheath) after Lemuel Francis Abbott (1760-1803). Henry Callend...

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...

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