Vintage 20th Century Reprint of 1865 "Lincoln Family" Engraving

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

Presented is a Proclamation of Emancipation wood engraving by W. Roberts. The engraving was published in 1864, just one year after President Abraham Lincoln signed the original Proclamation. W. Roberts was the artist and engraver and Corydon Alexis Alvord was the printer. The engraving was published by R. A Dimmick, in New York, 1864. The text of the Proclamation is set in a variety of typefaces, which is encased in a pictorial border. The border is decorated with a portrait of Abraham Lincoln and seven other vignettes, including the horrors of slavery at left, the bombardment of Fort Sumter at bottom, and scenes from a prosperous and united nation at right. On September 22, 1862, five days after the Union victory at the Battle of Antietam, Lincoln issued a preliminary decree stating that, unless the rebellious states returned to the Union by January 1, freedom would be granted to slaves within those states. No Confederate states took the offer, and on January 1, 1863 Lincoln presented the Emancipation Proclamation...

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...

This 1865, hand-colored engraving by A. H. Ritchie is entitled Lady Washington's Reception and is based on Daniel F. Huntington's original painting "Th...

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...

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

Antique print titled 'Das rennen und stechen'. Engraving of a Medieval tournament. This print originates from 'Thurnier Buch. Von Anfang, Ursachen, ursprung und herkommen (..)' b...

Description: Antique print titled 'De Doop der Russen' (Dutch for 'Baptism of the Russians') Old print depicting the baptism of Russians. This print originates from 'Hedendaegsch...

Step into the charm of early 20th-century France with our vintage color engraving, a culinary masterpiece framed with exquisite patina. Preserving its original state, this artwork bears the marks of time, adding a unique character that enhances its rustic allure. The scene unfolds in a rustic kitchen with a fireplace, depicting the simplicity and tradition of rural life. A bubbling pot on the hearth exudes warmth and timeless beauty, portrayed with captivating colors that evoke the essence of tradition. Perfect for art enthusiasts, this framed French color engraving...

Signed M. Ogier (Fecit:by), this set of four hand colored engravings is part of a larger edition of plates. These plates are numbered PL 16, 347, 365 and 386. The subject is probably...

Description: Plate no.34: 'Vaisseaux chinois.' (Chinese vessels.) This original auhentic plate originates from: 'Reize rondom de werreld, Gedaan in de jaaren 1740 tot 1744, door den ...

Fine 18th century engraving of a stag, after the hunt, with a magnificient dog at rest, in a country scene, beautifully depicted.