Original Old Copper Engravings of Seals of Lubeck, Stavoren, Amsterdam etc. 1767

Antique print titled 'Harlingen, Staveren, Sneck'. Views of the cities of Harlingen, Stavoren and Sneek, Friesland, the Netherlands. This print originates from 'Thooneel der Steden e...

Original handtinted copper engraving with title: 'Cortege d'un Viceroy tout les fois qu'il sort de son palais'. Translate in English: 'Procession of a Viceroy whenever he leaves h...

Antique print China titled ‘Kajutsiu'. This plate shows a view on the Chinese city of Kajutsiu. This print originates from the Latin edition of Nie...

Antique print titled 'Das Aussehen der Stadt und Vestung Coron von der Seit des Auffgang'. Copper engraving of Koroni (or Corone), Greece. This print originates from 'Ruhm-belorb...

A catalogue of engraved views, plans, etc., Of New York City, (The Collection of Percy R. Pyne II). Privately Printed by The De Vinne Press, New York, 1912. Limited to 100 copies. Gr...

ST/520 - Old rare Italian map of England, dated 1826-1827 - by Girolamo Tasso, editor in Venise, for the atlas of M.r Le-Sage.

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

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...