Images at Librifly

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Philip IV, King of Spain, plate 12 from Duces Burgundiae (Dukes of Burgundy), 1644, Jacob Louys (Flemish, 1595-after 1644), after Peter Paul Rubens (Flemish, 1577-1640), border engraved, and print published, by Pieter Claesz. Soutman

St. John, from The Four Evangelists, 1539, Heinrich Aldegrever, German, 1502-c.1560, Germany, Engraving in black on ivory laid paper, 118 x 77 mm (sheet

After Dinner, 1742, Jacques Le Bas (French, 1707-1783), after Nicolaes Berchem the Elder (Dutch, 1621/22-1683), France, Engraving on paper

Edward, Prince of Wales, June 1, 1797, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on cream wove paper, 274 x 224 mm (image), 316 x 256 mm (sheet, cut within

The Last Load, published August 7, 1869, Winslow Homer (American, 1836-1910), published by Appletons’ Journal (American, 1869-1881), United States, Wood engraving on paper, 113 x 165 mm (image), 283 x 205 mm (sheet

Letter N, 1630, Peter Aubry, German, 1596-1668, Germany, Engraving on paper, 226 x 189 mm

The Clock Tower, Paris, 1852, Charles Meryon (French, 1821-1868), printed by Auguste Delâtre (French, 1822-1907), France, Etching, engraving and drypoint (plate has been scraped and burnished) on ivory wove chine, laid down on ivory laid

Portrait of Raphael, n.d., Paul Pontius, Flemish, 1603-1658, Flanders, Engraving on paper, 221 × 172 mm (image), 253 × 181 mm (plate), 262 × 191 mm (sheet

Sir Richard Southwell, April 1, 1795, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on cream wove paper, 372 x 270 mm (image), 410 x 299 mm (plate), 539 x 410 mm

Lady Hobby, March 1, 1793, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on ivory wove paper, 289 x 197 mm (image), 343 x 255 mm (plate), 463 x 327 mm (sheet

Design: Academic Figure, from Encyclopédie, 1762/77, A. J. Defehrt (French, active 18th century), after Jean Honoré Fragonard (French, 1732-1806), published by André le Breton (French, 1708-1779), Michel-Antoine David (French, c.

Haarlem Boats in Amsterdam, 1850, Charles Meryon (French, 1821-1868), after Reinier Nooms (Dutch, c. 1623-c. 1664), France, Etching, engraving and roulette on ivory chine, laid down on ivory wove paper, 63 × 123 mm (image), 64 × 123 mm

Titania’s Awakening, 1803, Thomas Ryder I (English, 1746-1810), after Henry Fuseli (Swiss, active in England, 1741-1825), published by John Boydell (English, 1719-1804), authored by William Shakespeare (English, 1564-1616), England,

Seesaw—Gloucester, Massachusetts, published September 12, 1874, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on buff wove paper, 232 x 349 mm (image), 289 x 409

Plate six, from A Harlot’s Progress, 1732, William Hogarth, English, 1697-1764, England, Engraving in black on ivory laid paper, 302 × 379 mm (image), 319 × 388 mm (plate), 437 × 535 mm (sheet

Isolated Subject from the Story of Psyche, c. 1532, Master of the Die (Italian, active c. 1530-1560), after Raphael (Italian, 1483-1520), Italy, Engraving, printed in black, on paper, 165 x 223.5 mm

Nicolas Christin, n.d., Jean Morin (French, c. 1590-1650), after Anthony van Dyck (Flemish, 1599-1641), France, Engraving and etching in black on paper, 302 × 238 mm (sheet, trimmed within platemark

Frans Francken, 1630/33, Anthony van Dyck, Flemish, 1599-1641, Flanders, Etching and engraving in black on ivory laid paper, 247 × 159 mm (image/plate), 253 × 168 mm (sheet

Architecture, n.d., Etienne Delaune, French, c. 1519-1583, France, Engraving on paper, 72 × 54 mm (image/sheet, cut within platemark

Ormond, July 14, 1797, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on cream wove paper, 398 x 298 mm (image), 457 x 327 mm (plate), 539 x 406 mm (sheet

The Holy Family with Saint Elisabeth and the Infant John the Baptist, 1620, Lucas Emil Vorsterman (Flemish, 1595-1675), after Peter Paul Rubens (Flemish, 1577-1640), Flanders, Engraving in black on ivory laid paper, laid down on ivory laid

Norham Castle, plate 57 from Liber Studiorum, published January 1, 1816, Joseph Mallord William Turner (English, 1775-1851), Engraved by Charles Turner (English, 1773-1857), England, Etching and engraving in brown on ivory laid paper, 179

Portrait of the Artist’s Student Maisonneuve, 1824, Eugen Eduard Schäffer, German, 1802-1871, Germany, Engraving in black on ivory wove paper, 70 × 85 mm (image), 78 × 85 mm (plate), 178 × 233 mm (sheet

Strolling Actresses Dressing in a Barn, May 1738, William Hogarth, English, 1697-1764, England, Engraving in black on ivory laid paper, 423 × 538 mm (image), 450 × 561 mm (plate), 493 × 628 mm (sheet

Expulsion of Negroes and Abolitionists from Tremont Temple, Boston, Massachusetts on December 3, 1860, published December 15, 1860, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States,

Charles d’Hozier, King’s Genealogist, 1691, Gérard Edelinck (French, born Flanders, 1640-1707), after Hyacinthe Rigaud (French, 1659-1743), France, Engraving on paper, 472 × 357 mm (plate), 525 × 410 mm (sheet

Design: Ovals, from Encyclopédie, 1762/77, Benoît-Louis Prévost (French, c. 1735-1809), published by André le Breton (French, 1708-1779), Michel-Antoine David (French, c. 1707-1769), Laurent Durand (French, 1712-1763), and

Plate One, from Five Wise and Five Foolish Virgins, 1606, Jan Saenredam, Netherlandish, 1565-1607, Netherlands, Engraving on paper, 265 x 367 mm (sheet, trimmed to platemark

The Pope, plate ten from The Ranks and Conditions of Men, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving on paper, 178 x 100 mm (plate), 184 x 103 mm (sheet

Judge More, March 1792, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on cream wove paper, 346 x 268 mm (image), 412 x 334 mm (plate), 539 x 407 mm (sheet

The Apollo Belvedere, plate 3 from Three Famous Antique Sculptures, c. 1592, printed c. 1617, Hendrick Goltzius (Dutch, 1558-1617), text written by Theodorus Schrevelius, Netherlands, Engraving in black ink on cream laid paper, 405 x 291 mm

Morning, plate one from The Four Times of the Day, May 1738, William Hogarth, English, 1697-1764, England, Etching and engraving in black on ivory laid paper, 455 × 376 mm (image), 488 × 395 mm (plate), 660 × 495 mm (sheet

La Fête du Mai, Unknown date, Jean Baptiste Joseph Pater (after), French, 1695-1736, France, Oil on panel, 7 7/16 × 9 1/2 in. (18.9 × 24.1 cm), Head of an Old Woman, n.d., Johannes Visscher (Dutch, 1634-1692), after Cornelis Visscher

The War for the Union, 1862—A Bayonet Charge, published July 12, 1862, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 346 x 524 mm (image), 393 x 541 mm

Lieven van Coppenol, n.d., Cornelis Visscher, the Elder, Netherlandish, c. 1520-1586, Holland, Engraving on paper, 292 x 235 mm (trimmed), Pope Alexander the Seventh, n.d., Cornelis Visscher, Dutch, c. 1629-1658, Holland, Engraving on

January, April 4, 1788, William Nelson Gardiner, Irish, 1766-1814, Ireland, Color stipple engraving on paper, 310 x 257 mm (image), 350 x 279 mm (sheet

Art of Writing, from Encyclopédie, 1760, Aubin (French, active 18th century), after Charles Paillasson (French, 1718-1789), published by André le Breton (French, 1708-1779), Michel-Antoine David (French, c. 1707-1769), Laurent Durand

Man Under a Laurel Tree, 1515/30, Agostino dei Musi (Italian, c. 1490-after 1536), after Raffaello Sanzio, called Raphael (Italian, 1483-1520), Italy, Engraving in black on ivory laid paper, 311 x 229 mm (image/sheet, trimmed to platemark

August in the Country—The Seashore, published August 27, 1859, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 232 x 350 mm (image), 278 x 398 mm (sheet

Angelica and Medoro, c. 1570, Giorgio Ghisi (Italian, 1520-1582), after Teodoro Ghisi (Italian, died 1601), Italy, Engraving in black on ivory laid paper, 299 x 209 mm

Landscape with Philemon and Baucis, from Large Landscapes, n.d., Schelte Adamsz. Bolswert (Dutch, active in Flanders, c. 1586–1659), after Peter Paul Rubens (Flemish, 1577-1640), published by Gillis Hendricx (Flemish, active c. 1642-1677),

Maternal Indulgence, n.d., Nicolas Delaunay (French, 1739-1792), S. Freudeberg (Swiss, 1745-1801), France, Etching and engraving in black ink on white laid paper, 354 × 250 mm (image), 373 × 268 mm (plate), 412 × 294 mm (sheet

Adam and Eve, 1543, Sebald Beham (German, 1500-1550), after Barthel Beham (German, 1502-1540), Germany, Engraving in black on ivory laid paper, 82 x 57 mm (image/plate), 84 x 58 mm (sheet

Two Satyrs Fighting Over a Nymph, 1520/1525, Albrecht Altdorfer (German, c.1480-1538), after Marcantonio Raimondi (Italian, c.1480-1534), Germany, Engraving in black on ivory laid paper, 60 x 40 mm (image/plate

Plate One, from The Wise and Foolish Virgins, plate One, 1635, Abraham Bosse, French, 1602-1676, France, Engraving and etching on ivory laid paper, 258 × 322 mm (image), 330 × 432 mm (sheet

‘The Man Sweeping the Interpreter’s Parlour, ’ from Bunyan’s Pilgrim’s progress, 1820–22, William Blake, English, 1757-1827, England, Relief etching and white line engraving on ivory wove paper, 80 × 162 mm (image/block), 122 ×

The Departure of the Prodigal Son, plate one from The History of the Prodigal Son, n.d., Sebald Beham, German, 1500-1550, Germany, Engraving in black on ivory laid paper, 58 x 97 (image/plate), 59 x 98 mm (sheet

Ely Cathedral: Choir from an Engraving, c. 1891, Frederick H. Evans, English, 1853–1943, England, Lantern slide, 8.2 × 8.2 cm

The Prophet Joel, c. 1570, Giorgio Ghisi (Italian, 1520-1582), after Michelangelo Buonarroti (Italian, 1475-1564), Italy, Engraving on ivory laid paper, 569 x 429 mm (plate), 569 x 440 mm (sheet

Count William of Holland V, n.d., Cornelis Visscher, the Elder, Netherlandish, c. 1520-1586, Holland, Engraving on paper

Saint Jerome in His Study, c. 1566, Jerome Wierix (Flemish, 1553-1619), after Albrecht Dürer (German, 1471-1528), Flanders, Engraving in black on ivory laid paper, 239 × 184 mm (image/plate), 243 × 188 mm (sheet

God Commanding Noah to Build the Ark, 1520, Marco Dente da Ravenna (Italian, about 1486–1527), after Raffaello Sanzio, called Raphael (Italian, 1483-1520), Italy, Engraving in black on tan laid paper, 300 x 245 mm

Christ and the Disciples in the Field, from Landscapes with Old and New Testament Scenes and Hunting Scenes, 1584, Adriaen Collaert (Flemish, c. 1560–1618), after Hans Bol (Flemish, 1535–1593), published by Anna van Hoeswinckel (Flemish),

Sam’l. Thomson, Botanist, n.d., Henry Williams, American, 1787-1830, United States, Engraving and stipple on cream wove paper, 104 x 179 mm (sheet

Hat Badge with the Head of Saint John the Baptist Adapted as a Pendant, c. 1500, French, France, Gold, enamel, and carnelian, 6.2 × 4.7 cm (2 7/16 × 1 7/8 in.), The Mousetrap, c. 1655, Cornelis Visscher, Dutch, c. 1629-1658, Holland,

Angel Speeding Abraham, n.d., Cornelis Visscher (Dutch, c. 1629-1658), after Jacopo Bassano (Italian, 1510-1592), Holland, Engraving on paper

The Bag-Piper, 1514, Albrecht Dürer, German, 1471-1528, Germany, Engraving in black on ivory laid paper, 116 x 74 mm (image), 119 x 78 mm (sheet

Theology, plate 30 from Arts and Sciences, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving in black on cream laid paper, 180 x 100 mm (plate), 185 x 106 mm (sheet

Bust of a Woman, c. 1771, Louis-Marin Bonnet (French, 1736-1793), after François Boucher (French, 1703-1770), France, Crayon-manner engraving, with etching, in blue, red, and black, from three plates, on paper, 414 × 350 mm (image),

Saint Dominic, c. 1514, Lucas van Leyden, Netherlandish, c. 1494-1533, Netherlands, Engraving in black on ivory laid paper, 112 x 72 mm (image/plate), 117 x 78 mm (sheet

Inferno According to Dante, c. 1470, printed 19th century, Circle of Baccio Baldini (Italian, c. 1436–1487), after Francesco Traini (Italian, active 1321–1345), Italy, Engraving in black on ivory wove paper, 220 × 282 mm (plate), 280

A Quiet Day in the Woods, published June 25, 1870, Winslow Homer (American, 1836-1910), published by Appletons’ Journal (American, 1869-1881), United States, Wood engraving on paper, 156 x 165 mm (image), 276 x 193 mm (sheet

Lear Casting out his Daughter Cordelia, 1792, Richard Earlom (British, 1743-1822), after Henry Fuseli (Swiss, active in England, 1741-1825), England, Stipple etching and engraving on ivory laid paper, 501 × 634 mm (plate), 550 × 680 mm

Jason, plate 6 from Liber Studiorum, published 1807, Joseph Mallord William Turner (English, 1775-1851), Engraved by Charles Turner (English, 1773-1857), England, Etching and engraving in brown on ivory laid paper, 183 × 258 mm (image),

Corner of the Rue Royale, plate sixteen from Le Long de la Seine et des Boulevards, 1890, published 1910, Louis Auguste Lepère (French, 1849-1918), published by A. Desmoulins (French, active c. 1908-1910), France, Wood engraving in black on

She Lov’d Me for the Dangers, plate three from Othello, 1844, Théodore Chassériau, French, 1819-1856, France, Etching, engraving, and roulette on paper, 279 × 308 mm (image), 348 × 364 mm (plate), 638 × 445 mm (appro×. sheet

Burning the Rumps at Temple Bar, plate eleven from Hudibras, February 1725/26, William Hogarth, English, 1697-1764, England, Engraving in black on cream laid paper edge mounted on cream wove paper, 245 × 495 mm (image), 272 × 505 mm

The Souvenir, n.d., Nicolas Delaunay (French, 1739-1792), after Jean Honoré Fragonard (French, 1732-1806), France, Engraving on ivory laid paper, 366 × 275 mm (image), 376 × 292 mm (plate), 434 × 335 mm (sheet

Ships in a Breeze, plate 10 from Liber Studiorum, published February 20, 1808, Joseph Mallord William Turner (English, 1775-1851), Engraved by Charles Turner (English, 1773-1857), England, Etching and engraving in brown on ivory laid paper,

The Wise and Foolish Virgins, plate five, 1635, Abraham Bosse, French, 1602-1676, France, Engraving and etching on ivory laid paper, 218 × 320 mm (image), 422 × 320 mm (sheet

Louis XVI, 1790, printed after 1815, Charles Clément Bervic (French, 1756-1822), after Antoine Francois Callet (French, 1741-1823), France, Engraving in black on cream laid paper, 632 × 479 mm (image), 704 × 541 mm (sheet

Misfortune, c. 1541, Sebald Beham, German, 1500-1550, Germany, Engraving in black on ivory laid paper, 77 x 50 mm (image/plate), 78.5 x 51 mm (sheet

Jason, plate 6 from Liber Studiorum, published 1807, Joseph Mallord William Turner (English, 1775-1851), Engraved by Charles Turner (English, 1773-1857), England, Etching and engraving in brown on ivory wove paper, 182 × 257 mm (image),

Joseph Explaining his Dreams, 1541, Nicolas Beatrizet (French, 1515-1565), after Raffaello Sanzio, called Raphael (Italian, 1483-1520), France, Engraving on paper, 234 × 375 mm

Copy of Carleton Watkins’ Galen Clark Before the Grizzly Giant, c. 1863, after Carleton Watkins (American, 1829–1916), United States, Print on paper from woodcut engraving, 23 x 17.3 cm (image), 33.9 x 25.4 cm (paper

Claude Regnauldin, 1658, Robert Nanteuil, French, 1623-1678, France, Engraving on paper, 323 × 249 mm (plate), 339 × 262 mm (sheet

Awakening, plate eight from A Love, 1887, signed and dated in 1903, Max Klinger, German, 1857-1920, Germany, Etching and engraving on cream wove paper, 459 x 318 mm (plate), 803 x 572 mm (sheet

The Prophet Elie Arriving at the House of Sareptas’ Widow, 1604, Jan Saenredam (Netherlandish, 1565-1607), after Abraham Bloemaert (Dutch, 1566-1651), Holland, Engraving on paper, 422 x 318 mm (image/plate), 441 x 321 mm (sheet

Delaware Water Gap, 1830, Asher B. Durand, American, 1796-1886, United States, Engraving on off-white wove paper, 146 x 190 mm

Sacrifice to Priapus, the larger plate, 1499/1501, Jacopo de’ Barbari, Italian, 1460/70-before July 1516, Italy, Engraving, on paper, 226 x 165 mm

St. Stephen, n.d., Martin Schongauer, German, c. 1450-1491, Germany, Engraving on paper, 156 × 102 mm (sheet trimmed to plate mark

The Miser and the Miscarriage, 1528/30, Barthel Beham, German, 1502-1540, Germany, Engraving in black on ivory laid paper, 79 x 51 mm (image/plate/sheet

Geometry, n.d., Etienne Delaune, French, c. 1519-1583, France, Engraving on paper, 75 × 54 mm (image/sheet, cut within platemark

Welcome to the Prince of Wales, published October 20, 1860, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 400 x 266 mm

The Virgin, the Holy Women, and Saints John, James and Joseph of Arimathea, with Christ on the Way to Calvary, n.d., Antonio Carracci, Italian, 1583-1618, Italy, Pen and brown ink, with brush and blue wash, heightened with lead white

Judith Walking to the Left, and Her Servant, n.d., Sebald Beham, German, 1500-1550, Germany, Engraving in black on ivory laid paper, 114 x 71 mm (image/plate), 115 x 72 mm (sheet

Two Moors in Conversation, n.d., Martin Schongauer, German, c. 1450-1491, Germany, Engraving on paper, 84 × 48 mm (sheet trimmed within plate mark

Jupiter and Mercury in the House of Philemon and Baucis, 1612, Hendrik Goudt (Dutch, 1583-1648), after Adam Elsheimer (German, 1578-1610), Netherlands, Engraving in black on ivory laid paper, 213 x 220 mm

Descent into Limbo, c. 1465, School of Andrea Mantegna, Italian, 1431-1506, Italy, Engraving on paper, 426 x 340 mm

Carrying of the Cross, from Passion of Christ, 1575/1600, Jan Sadeler, the Elder (Flemish, 1550-1600), after Marcus Gheeraerts, the Elder (Flemish, c. 1520-c. 1590), Flanders, Engraving in black on ivory laid paper, 152 × 112 mm (plate,

The Holy Family with Saint John the Baptist, 1590, Annibale Carracci, Italian, 1560-1609, Italy, Engraving with etching in black on ivory laid paper, 169 x 226 mm

A King Pursued by the Unicorn, 1540/50, Jean Duvet, French, 1485-1570, France, Engraving on paper, 228 × 392 mm (plate), 238 × 395 mm (sheet

Rivaux Abbey, plate 51 from Liber Studiorum, published May 23, 1812, Joseph Mallord William Turner (English, 1775-1851), Engraved by H. Dawe, England, Etching and engraving in brown on ivory laid paper, 182 × 268 mm (image), 220 × 300 mm

Adam and Eve at Work, from The Story of Adam and Eve, 1540, Heinrich Aldegrever, German, 1502-c. 1560, Germany, Engraving in black on ivory laid paper, 87 x 65 mm (image/plate/sheet

Junction of Severn and Wye, plate 28 from Liber Studiorum, published June 1811, Joseph Mallord William Turner, English, 1775-1851, England, Etching and engraving on ivory paper, 180 × 273 mm (image), 208 × 289 mm (plate), 296.5 × 443 mm

Satyr Family, 1505, Albrecht Dürer, German, 1471-1528, Germany, Engraving in black on off-white laid paper, 116 x 70 mm (image/sheet

The Angel of the Ninth Sphere, or Primum Mobile, plate 49 from Planets and Spheres, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving in black on tan laid paper, 166 x 96 mm (image), 177 x 100 (plate), 182

Lady Ratcliffe, March 1, 1793, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on ivory laid paper, 288 x 193 mm (image), 350 x 251 mm (sheet, cut within platemark

Architectural Details: Base, Capital, and Mask, c. 1515, or later, Giovanni Antonio da Brescia, Italian, c. 1460-c. 1520, Italy, Engraving in dark brown on ivory laid paper, 141 x 108 mm

Diligence, from the Virtues, 1552, Heinrich Aldegrever, German, 1502-c.1560, Germany, Engraving in black on ivory laid paper, 104 x 62 mm (image/plate

search results: Engraving clear search