REPULSE of LONGSTREET'S ASSAULT 1876 Framed Print Engraving GETTYSBURG Civil War

Description

Submitted for your consideration is a very OLD, and very LARGE, FRAMED steel engraving of the historically arranged, famous painting by James Walker, "Repulse of Longstreet's Assault". Perhaps better known, as "Pickett's Charge", it is the third and decisive day at the epic Battle of Gettysburg (July 01-03, 1863). The painting was first exhibited in 1870, and this engraved print was created in 1876. It is ORIGINAL - not a modern copy - and in EXCELLENT Condition. The large, wooden FRAME is likewise in Excellent Condition.
This Library of Congress link provides all the particulars to this document, as it would be unframed. Since the measurements are in centimeters, I will do the conversion for you here. The print measures 19⅞"h x 40⅝"w, unframed. The frame is obviously very old as well, and measures approximately 25"h x 47"w.
www.loc.gov/item/
2013645393/
(3rd pic above is from the LOC site; other four from actual print engraving)
Historically arranged and published by Jno B. Bachelder, of a painting by James Walker, which was engraved by Henry B. Hall, Jr.
JNO B BACHELDER (September 29, 1825 – December 22, 1894) was a portrait and landscape painter, lithographer, and photographer, but best known as the preeminent 19th-century historian of the Battle of Gettysburg in the American Civil War. He was a dominant factor in the preservation and memorialization of the Gettysburg Battlefield in the latter part of the century.
JAMES WALKER (1819-1889)- A painter of military battles and illustrator, was born in Northamptonshire, England on June 3, 1819. In 1823, Walker immigrated with his family to the United States and settled on the Hudson River at Albany, New York. A painting for which he remains known is a large panorama, completed 1870, of the Battle of Gettysburg. Showing the clash of Union and Confederate forces on the climactic third day, the work was first shown in Boston in March of 1870. A reviewer wrote that it was "at once a fine work of art and a wonderful illustration of the battle's history, the position of every regiment and battery being defined on a battle-field several miles in extent." (Charleston-Renaissance Gallery).
HENRY BRYAN HALL, Jr (11 May 1808 London – 25 April 1884 Morrisania, New York), was an English stipple engraver and portrait painter. He was apprenticed to the engravers Benjamin Smith and Henry Meyer. Later he worked for Henry Thomas Ryall who was designated 'Portrait and Historical Engraver to Her Majesty, Queen Victoria'. Hall produced plates for Ryall's Eminent Conservative Statesmen (1837–38) and assisted in the engraving of seventy portraits for Ryall's plate of The Coronation of Queen Victoria after George Hayter (1838–42). Hall also engraved portraits of English Protestant martyrs for C. Birch (1839) and provided plates for John Wilson and Robert Chambers's The Land of Burns (1840), Finden's Gallery of Beauty (1841), John William Carleton's Sporting Sketch-Book (1842), and John Kitto's Gallery of Scripture Engravings (1846–49).
After settling in New York in 1850, he founded the firm of H. B. Hall and Sons, which grew into a flourishing practice, engraving and publishing portraits. He produced images of celebrities from American colonial and revolutionary history for a private club in New York and for Philadelphia collectors. Hall's talents extended to portrait painting, especially in ivory miniatures work. He had painted Napoleon III while still in London, and, after moving to America, painted portraits of the artists Thomas Sully and Charles Loring Elliott.
Bachelder's accurate conception of the climactic event of the Battle of Gettysburg, Longstreet's assault on the third day against the Union center at Cemetery Hill. This advance, ultimately repulsed with huge losses, was the "High-Water Mark of the Confederacy", and the turning point of the Civil War. This steel engraved print provides, with detailed precision, the chaos and the glory, of this Universe of Battle on the epic Third Day.
This Gettysburg piece is obviously one-of-a-kind, and of museum quality.
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