"An Argument with the Town Marshal" By Frederic Remington Color Relief Half-Tone

This is the artist proof edition of an untitled hunting scene by Douglas Adams. The print was issued in a limited, numbered edition of 300 and is signed by the artist in the margin. ...

This is a hand-colored, remarked and signed Charles Johnson Payne lithographic print, entitle: The Stone Faceder. The border area of the art is sign by the artist using his known pseudonym - Snaffles. The print depicts equestrian style riding in the Irish countryside. The art also features a hand-drawn fox running through brush leading one to believe this is an Irish fox hunting print. Born January 17, 1884 at Leamington Spa, Warwickshire, Charlie was the fourth of a boot-maker’s eight children and from his youth developed a passion for all things military. He tried to enlist in the army to fight in the Boer war, but was rejected on the grounds that he was too young. Eventually, he joined the Royal Garrison Artillery at the age of 18 as a gunner...

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 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...

New York Graphic Society print from 1941. Print measures 22 x 28.75in. Print is in fair condition, yellowing along bottom. Central image in good condition.

Western artist James Lee Colt (1922-2005) California Original signed gouache watercolor painting featuring western scene. Cowboy and Indian mounted on horse ...

Leonard Howard Reedy (1899-1956) Attack on the pony express Drawing-watercolor Watercolor or paper Signed lower right Leonard H. Reedy. Measures...

For Restoration. A rough cast of a Remington bronze with The Plains native American riding a rearing horse as he wields his spear. On a faux marble b...