Antique Print of the Winter Princess Apple by G. Severeyns, 1876

Antique print titled 'Pl. 35 Appel Var. Dr. Harvey'. This print originates from: 'Nederlandsche Flora en Pomona, beschreven en uitgegeven door het Bestuur der Pomologische Vereenigin...

Antique print titled 'Pl. 31 Appel Var. Beauty of Kent'. This print originates from: 'Nederlandsche Flora en Pomona, beschreven en uitgegeven door het Bestuur der Pomologische Vereen...

Antique print titled 'Pl. 20 Cellini'. An unusual Victorian variety, primarily a culinary apple but can be eaten fresh. One of the best examples of the aniseed component of apple fla...

Antique print titled 'Appel Var. Sturmer Pippin'. Cromolithograph of the sturmer pippin apple. This print originates from 'Nederlandsche Flora en Pomona (..)' published by J.B. Wolte...

Antique print titled 'Pl. 27 Appel Var. Senkyrke (Zweden)'. This print originates from: 'Nederlandsche Flora en Pomona, beschreven en uitgegeven door het Bestuur der Pomologische Ver...

Antique print titled 'Pl. 7 Appel Var. Early Joe'. This print originates from: 'Nederlandsche Flora en Pomona, beschreven en uitgegeven door het Bestuur der Pomologische Vereeniging ...

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...

Great image of apples Chromo-lithograph Published by Edward Arnold. circa 1860 Unframed. It gives you the option of perhaps making a set up using your own choice of frames. ...

Two prints of the four continents they are early 19th century, Dutch. In antique hand carved water gilded frames with original glass.

Rare, antique Parisian lithograph from the mid-19th century.

Wonderful image after Rembrandt Fine Steel engraving. Published by Jones & Co., London. C.1850 Unframed.

Admired in his day as one of the great graphic artists of America, Andrew Szoeke put his mastery of form and silhouette to work in furniture, type design, graphic design and fine art...