Old Engraving of the Bairam Celebration, the Easter of the Muslims, 1737

Antique print, untitled. Wonderful allegorical antique hand colored engraving depicting the celebrations of the British victories in America at the conclusion of the French & Indian ...

This plate shows views of the ruins of the Palace of Cleopatra, Egypt. Source unknown, to be determined. Artists and Engravers: Cornelis de Bruijn (also spelled Cornelius de Bruyn, p...

Antique print titled 'Diversche Feesten van de Moren - Als die van het Nieuwe Jaar.' View of several celebrations by the Moors/ Muslims like the New Year celebration., January 1664. Bengal, part of present day Bangladesh and India. This very scarse attractive original old antique print / plate / etching / engraving originates from: 'Wouter Schoutens, Reys-Togten naar en door Oost-Indien ...' (Wouter Schoutens travels into the East Indies), 2nd. edition, published by Andries van Damme, Amsterdam, 1708. Artists and Engravers: Wouter Schouten (1638-1704) joined the Dutch VOC...

Untitled map of the region of Flanders, Belgium. This map originates from 'Nieuw en beknopt Kaart-Boekje vertoonende de XVII. Nederlandse Provintien (..)'. Artists and Engravers: A...

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...

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

A collection of 11 framed and glazed engravings taken from the New Book Of Martyrs By Henry Southwell The 11 engravings show authentic and genuine historical account of the many dre...

Print by engraving on copper plate from the Panckoucke Encyclopédie méthodique, end of the 18th century, volume Marine Planches (more than 1,500 figures dealing with all subjects on ...