Antique Engraving of One of the Ten Brass Lavers in Solomon's Temple, 1725

Antique religion print titled 'Het kopere Waschvat, Tusschen de Tente der t'zamenkomst en den altaar'. Antique print of the Brass Laver in Solomon's Temple. This print originates...

Two religious images on one sheet titled 'Kopere Zee in den Tempel van Salomon' and 'Doorsnede van de Kopere Zee des Tempels van Salomon'. The 'Brazen Sea' in Solomon's Temple an...

Antique print titled 'Platte gront van Salomons Tempel ten tijden des Zalighmakers volgens Thomas Fuller'. Bird's-eye plan of Solomon's Temple, oriented to the west (Jerusalem, Israe...

Antique religion print titled 'Het Heilige der Heilige binnen den Tempel van Salomon'. This print depicts Solomon's Temple, the Holy of Holies, showing the Ark of the Covenant...

Antique print religion titled 'Platte gront van Salomons Tempel ten tijden des Zalighmakers volgens Thomas Fuller'. Bird's-eye plan of Solomon's Temple, oriented to the west (Jer...

Original antique print of a mosque of Solomon's temple. This print originates from 'Costume Antico e Moderno: Palestine, China, India, Oceania' by Ferrario. Published 1831.

Large framed engraving entitled Jews before Solomon's Wall (translated into Hebrew and German): Jewish believers are presented in prayer in front of the wall, standing or kneeling. The artist Alexandre Bida paid a lot of attention to clothing details and facial expressions; the importance of the moment is reinforced by the deliberate choice of using black and white Engraving framed in a gilded frame (wear and losses) and glazed (cracked window in the lower left corner), foxing on the paper It bears the words " Drawn by Bida", "Alphonse Masson Aqua forti" and "Pollet sculpsit" Alexandre Bida (1813-1895) is a painter and engraver from Toulouse, who was a student of Eugène Delacroix. A traveling painter, at the age of 30 he embarked on a long trip to Greece, Turkey and Syria. With his proposals for orientalist drawings...

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 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...

By John Pine considered the foremost heraldic and decorative engraver of his generation. Depicting the defeat of the Spanish by the English Fleet in 1588. These are after a set of tapestries that hung in the House of Commons...

This 1865 engraving features the Emancipation Proclamation in elaborate calligraphic text, with five patriotic vignettes and a small portrait...

This is the 1889 William H. Overend (1851-1898) and Lionel Smythe (1839-1918) first edition, photogravure of the Calcutta Cup – a Rugby match between Scotland and England, that has been played over 100 times, the first match...