Antique Engraving of the Statue of the Mythologic Hero Meleager, Rome. 1660

Antique print, titled: 'Apollo Pytonem iaculans in Hortis Vaticanis.' Statue of Apollo with Python. Apollo is one of the Olympian deities in classical Greek and Roman religion and mythology. From the 1660 Dutch edition of 'Icones et Segmenta Nobil. Signorum et Statuarum quae Romae extant' by Francois Perrier...

Antique map titled 'De Zeeven Wolden'. Map of the region of Zevenwouden (or Zevenwolden) in Friesland, the Netherlands. This region include the villages of Langweer, Echtenerbrug...

Description: Antique print, titled: 'Circus Flaminius (…)' - This original old antique print shows a reconstruction of Circus Flaminius, a large, circular area in ancient Rome, l...

Antique print, titled: 'Mausoleum Augusti - Mausoleum Vestigia' - This original old antique print shows the Mausoleum of Augustus and its remnants in Rome, Italy. This original old antique print / plate originates from: 'Beschryving van Oud en Nieuw Rome. Verdeelt in drie Deelen. In 't Fransch beschreven door den Heer Francois Desseine. En in 't Nederduitsch vertaalt.', by Francois Desseine and published by Francois Halma in 1704, first published in French in 1690. Copies of this work are rarely complete as the maps and engravings are of high quality matching the work of Piranesi. Artists and Engravers: Made by 'J. De Later' after 'Jan Goeree'. Made by J .de Later after Jan Goeree. Jan Goeree (1670-1731) was a Dutch engraver and poet. He was the son of the Middelburg bookseller Willem Goeree. Born in Middelburg, but soon they moved to Amsterdam. Initially he focussed on painting, assumably a student of Gerard de Lairesse. But he is best known for his engraving skills, depicting mosttly emblematic and historic scenes. In 1705 he was commisioned by the Mayor of Amsterdam to design the drawings for the ceiling paintings for the grand hall of the old city hall...

Antique print titled 'Celebrrima et Antiquissima Cemblacensis Oppidi Abbatia Ordinis S. Benedicti in Gallo-Brabantia'. Original antique print of the Benedictine Abbey of Gembloux...

Antique print titled 'Religieux de l'Ordre du Saint-Sépulcre'. Print of a Monk of the Order of the Holy Sepulchre. This print originates from 'Histoire et Costumes des Ordres Religie...

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...

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

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 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...

After Vander Smissen 'Mrs Sarah Porter, Queen of the Touters at Tunbridge Wells', a mezzotint, engraved by William Pether circa 1770, glazed in ebonised, ...