Copper Engraving of an Inca Marriage Ceremony, 1773

Antique print titled 'Mariage des Lapons (..)'. Old print of various ceremonies (marriage, funeral, baptism, magic) of Finland. This print originates from 'Ceremonies et costumes...

Antique print of various Greek religious ceremonies. With French description. Artists and Engravers: Anonymous Condition: Very good. Stamp on ...

Antique print titled 'Vue de la Vigne a l'Italienne (..)'. Copper engraving of an Italian vineyard and a farm. This print originates from 'Jardins ...

Antique print titled 'Idumea, of thet Land der Philistynen'. Old map of Edom, an ancient kingdom in Transjordan located between Moab to the northeast, the Arabah to the west and the ...

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

Francis Grose entered the army early in life and served in the cavalry, infantry, and militia.He had a profound knowledge of antiquities and spent the greater part of his life collec...

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 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...