Copper Engraving Showing the Neptune Fountain of Versailles, Paris, France, 1785

Antique print titled 'Plan de la décoration du Bassin de Neptune à Versailles'. Copper engraving showing parts of the Neptune fountain of Versailles, ...

Antique print titled 'Mosquée - Autre Mosquée'. Copper engraving showing two mosques. This print originates from 'Jardins Anglo-Chinois à la Mode' by Georg Louis le Rouge. Ar...

Antique print titled 'Vue étant vers la droitte dans l'intérieur de la Grotte de St. Leu'. Copper engraving showing the cave, park and garden of Saint-Leu. This print originates from...

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

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...

A very stylish "View of the Center of Paris Taken from the Air" lithograph map published by the Paris Ministry of Tourism, circa early 1950s. The piece measures 27" x 43" and shows...

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