Original Antique Copper Engraving of a Portrait of John the Evangelist, 1708

Description: Antique map titled 'Erster Abriss der Stadt Jerusalem wie sie Furnemblich zur Zeit des Hernn Christi beschaffen (..).' Spectacular town plan...

Antique map titled 'Westergo'. Original antique map of Westergo, part of the province of Friesland, the Netherlands. Published 1744. Artists and engravers: Isaak Tirion (1705 ...

Antique print, titled: 'Suratte' View of the Indian city of Suratte (Surat) showing a panoramic view of the city with figures, animals and a river wi...

Antique print China titled 'Kuching'. Old print depicting a view on the Chinese city of Kuching or Kuchin (Gui Jiang, Kuei Chiang), near the river Gui (Guei). This area is close ...

Antique map titled 'Hemispherium Orbis Antiqui, Cumzonis Circulis, Et Sity populorum Diverso'. Decorative example of Andreas Cellarius's map of the Eastern Hemisphere, illustrating with climatic zones ranging from Frigida Borealis to Torrida, with planetary details superimposed. The elaborate border includes fine scrollwork, numerous putti, and additional diagrams showing armillary spheres and climatic zones. Andreas Cellarius was born in 1596 in Neuhausen and educated in Heidelberg. He emigrated to Holland in the early 17th century and 1637 moved to Hoorn, where he became the rector of the Latin School. Cellarius' best known work is his Harmonia Macrocosmica, first issued in 1660 by Jan Jansson, as a supplement to Jansson's Atlas Novus. The work consists of a series of Celestial Charts...

Antique print titled 'Le Baptême de Rhinsbourg'. This print depicts the baptism of Christians in Katwijk-Rijnsburg in The Netherlands. Source unknown, to be determined. Artists an...

Presented is an elaborate engraved broadside presentation of both the preliminary and final Emancipation Proclamations, dated September 22, 1...

Print by engraving on copper plate Tav III TIX fig. 17-22 from the volume Navigazione; with frame 28 x 33. Some calculations are depicted. Very good condition. Shipping is insured by...

"The Small Horse" copper plate engraving by Albrecht Dürer, circa 1505. This is a 19th century engraving, printed in black on laid paper, framed by a beautiful gilt and ebonized carv...

Great image of Lord Nelson Fine steel engraving by H.Robinson After J.Hoppner Published circa 1850 Unframed.

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...