Engraving of Alejandro Selkirk Island, Juan Fernández-archipel, Chile, 1749

Antique map titled 'Plan de la Côte du N.E. de l 'Ile de Juan Fernandes - Schets van den Noord-Oost kant van het eiland Juan Fernandes '. This map depicts the northeast coast of the ...

Antique map titled 'Plan de la Côte du N.E. de l 'Ile de Juan Fernandes'. Map of the northeast coast of the island of Juan Fernandez with Cumberland Bay, South America. In 1740 A...

Antique map titled 'l'Ile de Juan Fernandes dans la Mer du Sud (..) - Het Eiland Juan Fernandes in de Zuid Zee (..)'. This map depicts Juan Fernandez Island in the Southern Sea. This...

Antique map titled 'l'Ile de Juan Fernandes dans la Mer du Sud (..)'. This map depicts Juan Fernandez Island in the Southern Sea. Source unknown, to be determined. Artists and En...

Antique print titled 'Vue de la cote du N. E. de Masa-Fuero' - 'Vue de la cote occidentale de Masa-Fuero a la distance de quatre milles.' Views of Alejandro Selkirk Island...

Antique map titled 'Plan de la Côte du N.E. de l 'Ile de Juan Fernandes'. Map of the northeast coast of the island of Juan Fernandez with Cumberland Bay, South America. In 1740 Ans...

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...

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

Presenting a Rare Lynn Bogue Hunt engraving of ducks unlimited 1940. This piece cam from a wealthy estate in Dallas, TX with the mansion being built...

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

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...

More Massachusetts Towns, illustrated with wood engravings of fifty-three Massachusetts Towns, drawn in 1840 by J. W. Barber. Commentary by Ivan Sandrof, and a special foreword by Mr...