"First Blow for Liberty: To the Memory of the Patriots of 1775" Engraving, 1868

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 is a first edition print of Rough Shooting, signed by the artist, Douglas Adams. The print was published by Thomas McLean and depicts a highlands s...

Presented is an engraving entitled “The British surrendering their arms to Gen. Washington after their defeat at Yorktown Virginia October 1781.” The dedication continues in the bottom margin, “To the defenders of American independence, this print is most respectfully inscribed by their fellow citizen, Jn. Fcis. Renault, assistant secretary to the Count de Grass, and engineer to the French Army, at the siege of York.” The engraving is after a painting by John Francis Renault, and engraved by Tanner, Vallance, Kearny & Co. and William Allen, in Philadelphia in January of 1819. This historic print depicts the surrender of the British forces after the Battle of Yorktown. The print shows Lord Cornwallis offering his sword to the Duke de Lauzun, who defers the weapon to General Washington. British officers stand with Cornwallis on the right and French and American officers are shown at center and left. The immediate background is filled with an elaborate allegorical scene. Behind the British troops is a female representation of “Discord,” wearing a billowing robes and liberty cap and floating on storm clouds, as she sends lightning bolts to up-end the British people and a chariot below her. Behind the American and French officers, “Prosperity” stands next to an overflowing cornucopia, with “Justice”, an infant child with a paddle inscribed “American Constitution,” representing the helm of statehood. They crowd around a neoclassical monument with a giant urn...

Presented is a handsome engraved portrait of George Washington by Italian artist Giuseppe Longhi. Titled “Georgius Washington” this engraving was published in Padua, Italy in 1817. The composition is based on a drawing by Longhi himself, but certainly influenced by the Gilbert Stuart and John Trumbull portraits. Washington is depicted in a head and shoulders pose, with his chest to the left but his head angled to the right. He wears a dark coat and vest and a white shirt and ruffled cravat. The father of our country, George Washington was the commander in chief of the Continental Army during the American Revolutionary War (1775-83) and served two terms as the first United States president...

Mezzotint engraving, 1799, The First of September, after painting by George Moreland. Moreland was a noted London landscape and genre painter. By the...

Antique map titled 'Novus Brasiliae Typus'. Fine old color example of Blaeu's first map of Brazil, with north oriented to the right. Includes inset map of Baya de todos Santos, elaborate cartouche, 2 compass roses and richly embellished vignettes of native Brazilian life and animals. The interior of the map includes vignettes of indigenous animals and native scenes, including cannibalism. Inset within a decorative border is a small map of "Baya de todos Sanctos". In the sea are monsters, a galleon and two compass roses. The large title cartouche features a male and female Brazilian, both of whom are shown naked. Willem Janszoon Blaeu (1571-1638) was a prominent Dutch geographer and publisher. Born the son of a herring merchant, Blaeu chose not fish but mathematics and astronomy for his focus. He studied with the famous Danish astronomer Tycho Brahe...

Antique print of a float with religious figures. This print originates from 'Prael-treyn [...] toegeschikt aen het duyzend-jaerig jubilé van [...] den heyligen Rumoldus'. Artists and Engravers: Published by Joannes Franciscus vander Elst. Condition: Fair, age-related toning. Original folding lines, some wear and small defects. Blank verso. Please study image carefully. Date: 1775 Overall size: 35.5 x 30 cm. Image size: 28 x 28.5 cm. We sell original antique maps to collectors, historians, educators and interior decorators all over the world. Our collection includes a wide range of authentic antique maps...

Antique print titled 'Parel-Visschery, en hoe die geschiet'. Copper engraving of pearl fishing in Tutocoryn and Pallpatnam (Tamil Nadu, India, Gulf of Manar, Palk Bay.) This print or...