Images at Librifly

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The Large Ecce Homo, 1510, Lucas van Leyden, Netherlandish, c. 1494-1533, Netherlands, Engraving in black on ivory laid paper, 283 x 446 mm (image/sheet trimmed within plate mark

The Resurrection of Christ, 1630/45, Schelte Adamsz. Bolswert (Dutch, active in Flanders, c. 1586–1659), after Peter Paul Rubens (Flemish, 1577–1640), published by Martin van den Enden (Flemish, 1605–1673), Netherlands, Engraving in

Grotta Ferrata, 1832, Adrian Ludwig Richter, German, 1803-1884, Germany, Etching with engraving in black on ivory wove paper, 213 × 187 mm (image), 280 × 230 mm (plate), 344 × 466 mm (sheet

Yet She Must Die, plate eleven from Othello, 1844, Théodore Chassériau, French, 1819-1856, France, Etching, engraving, roulette, and drypoint on paper, 309 × 242 mm (image), 367 × 263 mm (plate), 638 × 445 mm (appro×. sheet

Elevation Perspective of l’Hôtel de Ville, Rennes, n.d., Philippe-Nicolas Milcent, French, active c. 1735, France, Hand-colored engraving on paper, 333 × 581 mm

Pilgrimage to the Französisch Bucholz Spa near Berlin, 1779, Daniel Nikolaus Chodowiecki, German, 1726-1801, Germany, Etching and engraving on cream laid paper, 128 × 176 mm (image/plate), 165 × 210 mm (sheet

Portrait of Louis Jacques Marie Bizeul, the Breton Archaeologist, 1861, Charles Meryon, French, 1821-1868, France, Etching with engraving on ivory chine, laid down on ivory laid paper, 121 × 105 mm (image), 167 × 118 mm (plate), 161 ×

St. Anthony the Hermit, 1521, Sebald Beham, German, 1500-1550, Germany, Engraving in black on ivory laid paper, 89 x 62 mm (image/sheet, trimmed to plate mark

Plate Six, from Book of Ornament, 1704, Simon Gribelin II, French, 1661-1733, France, Engraving on paper, 132 × 213 mm (image/plate), 233 × 296 mm (sheet

Pallas Athena, plate 6 from Parnassus Biceps, 1601, Johann Theodor de Bry (German, 1561-1623), after Jean-Jacques Boissard (French, 1533-1598), Frankfurt an der Oder, Engraving in black on ivory laid paper, 236 × 160 mm (image), 258 × 160

Dancing Couple, plate eleven from The Large Wedding-Dancers, 1538, Heinrich Aldegrever, German, 1502-c.1560, Germany, Engraving in black on ivory laid paper, 117 x 78 mm (image/sheet

Lot and His Daughters, 1748, Joseph Marie Vien, I (French, 1716-1809), after Jean François de Troy (French, 1679-1752), France, Engraving on ivory laid paper, 274 × 379 mm (image), 330 × 413 mm (plate), 417 × 557 mm (sheet

Stage in Memory of Isabella Clara Eugenia, plate 24 from Casperius Gevartius, Pompa Introitus Honori Serenissimi Principis Ferdinandi (Triumphal Entry of the Most Serene and Honorable Cardinal-Infante Ferdinand), 1642, Theodoor van Thulden

Apollo, plate 5 from Parnassus Biceps, 1601, Robert Boissard (French, c. 1570–after 1597), after Jean-Jacques Boissard (French, 1533-1598), Frankfurt an der Oder, Engraving in black on ivory laid paper, 250 × 179 mm (image), 271 × 179

Melton Constable in the County of Norfolk, plate 51 from Britannia Illustrata, published 1707, Jan Kip (Dutch, c. 1653-1722), after Leonard Knyff (Dutch, 1650-1721), published by David Mortier (French, 1673-1728), Netherlands, Etching and

Dancing School, 1785, François Dequevauviller (French, 1745-1807), after Nicolas Lavreince (Swedish, 1737-1807), France, Engraving on ivory laid paper, 290 × 371 mm (image), 340 × 419 mm (sheet

The Virgin on the Crescent with a Diadem, 1514, Albrecht Dürer, German, 1471-1528, Germany, Engraving in black on off-white laid paper, 116 × 75 mm (image/sheet

The Nursery of Shakespeare, 1810, Moses Haughton II (English, 1772/74-1848), after Henry Fuseli (Swiss, active in England, 1741-1825), England, Stipple engraving, with hand-coloring, on cream wove paper, 518 × 403 mm (image), 607 × 469

Heinrich Aldegrever, Aged 28, 1530, Heinrich Aldegrever, German, 1502-c.1560, Germany, Engraving in black on ivory laid paper, 146 x 102 mm (sheet

Virginius Killing His Daughter, 1546/47, Georg Pencz, German, c. 1500-1550, Germany, Engraving in black on ivory laid paper, 117 x 80 mm (sheet

Royal Feast, 1782, Jean Michel Moreau (French, 1741-1814), partially etched and finished by Antoine Jean Duclos (French, 1742-1795), France, Etching and engraving on ivory laid paper, 465 × 367 mm (image), 524 × 396 mm (sheet

Henry Brandon, March 26, 1798, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on ivory wove paper, 72 x 66 mm (image), 152 x 166 mm (plate), 231 x 283 mm (sheet

A Water-Mill Near Saint-Denis, 1850, Charles Meryon (French, 1821-1868), after Reinier Nooms (Dutch, c. 1623-c. 1664), France, Etching, engraving and roulette on ivory laid paper, 131 × 238 mm (image), 141 × 247 mm (sheet

Old Man and Woman at a Window, c. 1480, Master bxg, German, active ca. 1470–90, Germany, Engraving in black on ivory laid paper, 180 × 159 mm (sheet, trimmed to platemark

The Delphic Sibyl, early 1570s, Giorgio Ghisi (Italian, 1520-1582), after Michelangelo (Italian, 1475-1564), Italy, Engraving in black on ivory laid paper, 565.5 x 432 mm (plate), 570 x 439 mm (sheet

Sheaf-Binder, 1853, after drawing made in 1852, Jacques Adrien Lavieille (French, 1818-1862), after Jean François Millet (French, 1814-1875), France, Wood engraving in black on gray China paper, laid down on ivory wove paper (chine collé),

Saint Simon, c. 1500, Master F.V.B., Netherlandish, active 1475-1500, Bruges, Engraving on paper, 183 × 98 mm

Miss Kitty Dressing, 1781, Thomas Watson (English, 1743-1781), after Joseph Wright of Derby (English, 1734-1797), United Kingdom, Mezzotint, with traces of engraving, in dark brown on ivory laid paper, 409 x 329 mm (image), 453 x 330 mm

The Holy Family with Saint John and Saint Elizabeth, 1620, Lucas Emil Vorsterman (Flemish, 1595-1675), after Peter Paul Rubens (Flemish, 1577-1640), Flanders, Etching and engraving in black on silk, satin weave, 255 × 205 mm (image), 270

Paternal Curse, 1777–78, Jean Michel Moreau (French, 1741-1814), after Jean-Baptiste Greuze (French, 1725-1805), France, Etching with engraving on paper, 100 × 110 mm (image), 370 × 270 mm (sheet

Plate Three, from Five Wise and Five Foolish Virgins, 1606, Jan Saenredam, Netherlandish, 1565-1607, Netherlands, Engraving on paper, 268 x 371 mm (sheet, trimmed to platemark

The Triumph of Scipio, c. 1530, Master of the Die, Italian, active c. 1530–1560, Italy, Engraving, printed in black, on paper, 201 x 246 mm

Mezzotint, from Encyclopédie, 1762/77, A. J. Defehrt (French, active 18th century), published by André le Breton (French, 1708-1779), Michel-Antoine David (French, c. 1707-1769), Laurent Durand (French, 1712-1763), and Antoine-Claude

Inverary Pier, plate 35 from Liber Studiorum, published June 1, 1811, Joseph Mallord William Turner, English, 1775-1851, England, Etching and engraving in brown on ivory wove paper, 180 × 262 mm (image), 214 × 291 mm (plate), 300.5 ×

Fortune, 1541, Sebald Beham, German, 1500-1550, Germany, Engraving in black on ivory laid paper, 78 x 50 mm (image/plate), 79 x 51.5 mm (sheet

River Wye, plate 48 from Liber Studiorum, published May 23, 1812, Joseph Mallord William Turner (English, 1775-1851), Engraved by W. Anis, England, Etching and engraving in brown on ivory laid paper, 182 × 262 mm (image), 210 × 292 mm

St. Simon, from Apostles, n.d., Martin Schongauer, German, c. 1450-1491, Germany, Engraving on paper, 90 × 51 mm (plate), 90 × 52 mm (sheet

Humphrey, Printseller, No. 27 St. James’s Street, n.d., John Lockington, English, active 18th century, England, Engraving on ivory wove paper, 63 × 52 mm (plate), 67 × 56 mm (sheet

Ornamental Design for Knife Handle with Air, from The Four Elements, about 1590, Johann Theodor de Bry, German, 1561-1623, Flanders, Engraving in black on ivory laid paper, 90 × 22 mm (image/sheet, trimmed within plate mark

Joseph Sold by his Brothers, 1533, Master of the Die (Italian, active c. 1530-1560), after Raffaello Sanzio, called Raphael (Italian, 1483-1520), Italy, Engraving, printed in black, on paper, 212 × 286 mm (sheet

David in Prayer, 1652, Rembrandt van Rijn, Dutch, 1606-1669, Holland, Engraving on paper, 141 x 94 mm (image), 143 x 95 mm (sheet

Sorrow and Pain Punishing Psyche, 1530/40, Master of the Die (Italian, active c. 1530-1560), after Michiel Coxcie I (Flemish, 1499-1592), in turn, inspired by Raffaello Sanzio, called Raphael (Italian, 1483-1520), Italy, Engraving in warm

The Midmay Sea-Piece, plate 40 from LIber Studiorum, published February 11, 1812, Joseph Mallord William Turner (English, 1775-1851), Engraved by W. Annis and I.C. Easling, England, Etching and engraving in brown on ivory laid paper, 181 ×

Portrait of Titian, 1587, Agostino Carracci (Italian, 1557-1602), after a self-portrait by Titian (Italian, c. 1488-1576), Italy, Engraving on ivory laid paper, 324 x 232 mm (image/plate/sheet

Elisabeth of Bourbon, Queen of Spain, plate 13 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.

Genealogical Tree of the Austrian Royal Family, plate 32 from Casperius Gevartius, Pompa Introitus Honori Serenissimi Principis Ferdinandi (Triumphal Entry of the Most Serene and Honorable Cardinal-Infante Ferdinand), 1642, Theodoor van Thulden,

Erasmus Balderman, 1535, Barthel Beham, German, 1502-1540, Germany, Engraving in black on ivory laid paper, 131 x 95 mm (image, trimmed within plate mark

Scapino, Cap. Zerbino, from Balli di Sfessania, c. 1622, Jacques Callot, French, 1592-1635, France, Etching and engraving on paper, 70 × 92 mm

Portrait of Jacques Bénigne Bossuet, Bishop of Meaux, 1723, Pierre-Imbert Drevet (French, 1697-1739), after Hyacinthe Rigaud (French, 1659-1743), France, Engraving on ivory laid paper, 508 × 333 mm (image), 511 × 351 mm (plate), 519 ×

Impatiens, from Collection des plantes usuelles, curieuses, et étrangères, 1767, Jacques Fabien Gautier D’Agoty, French, 1710-1781, France, Engraving, with additions in brush and watercolor, on cream laid paper (discolored to buff),

Saint Jerome in Penitence, in a Cave, 1500/38, Albrecht Altdorfer, German, c.1480-1538, Germany, Wood engraving in black on cream laid paper, 168 x 120 mm (image/block/sheet

Cavalry and Footsoldiers, 1550/1572, Etienne Delaune, French, c. 1519-1583, France, Engraving on paper, 65 × 219 mm

Hay-Makers, 1791, George Stubbs, English, 1724-1806, England, Stipple engraving, with roulette, on ivory laid paper, 484 × 685 mm (image/plate), 537 × 713 mm (sheet

Scene on the French Coast, plate 4 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 paper, 183 × 259

Lot and his Daughters, 1530, Lucas van Leyden, Netherlandish, c. 1494-1533, Netherlands, Engraving in black on ivory laid paper, 189 x 243 mm (image/sheet, trimmed to plate mark

Defeat of the Spanish Army Near the Canal at Bruges by the Troops of King Louis XIV 1667, 1680, Sébastien Le Clerc the elder (French, 1637-1714), after Charles Le Brun French, 1619-1690, France, Engraving and etching in black on off-white

Lord Vaux, March 17, 1792, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on ivory laid paper, 272 x 286 mm (image), 320 x 305 mm (plate), 539 x 406 mm (sheet

Untitled, May 1864, William Henry Fox Talbot, English, 1800–1877, England, Photoglyphic engraving employing resin ground, 7.7 × 7 cm (image), 22.2 × 12.6 cm (paper

Fortitude, plate 36 from Genii and Virtues, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving in black on cream laid paper, 180 × 100 mm (plate), 186 × 105 mm (sheet

A Group of Auriculas, from The Temple of Flora, 1803, Frederick Christian Lewis, the elder (English, 1779-1856), James Hopwood, the elder (English, c. 1752-1819), after Peter Charles Henderson (English, active 1791-1829), published by Dr.

Saint Francis Penitent in a Large Landscape, 1575, Cornelis Cort (Netherlandish, 1533/36-1578), Girolamo Muziano (Italian, 1528-1592), Holland, Engraving on paper, 500 x 372 mm (image), 519 x 373 mm (sheet

Rispah, plate 46 from Liber Studiorum, published April 23, 1812, Joseph Mallord William Turner (English, 1775-1851), Engraved by R. Dunkarton, England, Etching and engraving in brown on ivory laid paper, 180 × 265 mm (image), 210 × 291 mm

African Aloe, plate 47 from Phtanthoza Iconographia, 1736, Published by Johann Wilhelm Weinmann, German, 1683-1741, Germany, Color mezzotint and engraving on cream laid paper, 324 x 210 mm (plate), 375 x 230 mm (sheet

The Concert, 1784, François Dequevauviller (French, 1745-1807), after Nicolas Lavreince (Swedish, 1737-1807), France, Etching and engraving on cream laid paper, 404 × 499 mm (plate), 410 × 508 mm (sheet

St. Sebastian Bound to the Column, c. 1499, Albrecht Dürer, German, 1471-1528, Germany, Engraving in black on ivory laid paper, 106 x 75 mm (image), 108 x 75 mm (sheet

Letter X, 1630, Peter Aubry, German, 1596-1668, Germany, Engraving on paper, 253 x 190 mm

The Bridge in Middle Distance, plate 13 from Liber Studiorum, published June 10, 1808, Joseph Mallord William Turner (English, 1775-1851), Engraved by Charles Turner (English, 1773-1857), England, Etching and engraving in brown on ivory laid

Thanksgiving in Camp, published November 29, 1862, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 233 x 350 mm (image), 288 x 408 mm (sheet

Jacomo de Cachiopin, 1773, Gilles Demarteau (French, 1722-1776), after Anthony van Dyck (Flemish, 1599-1641), France, Crayon-manner engraving in brown and black on ivory laid paper, 263 × 185 mm (image), 271 × 188 mm (sheet, cut within

Fortune, c. 1495, Albrecht Dürer, German, 1471-1528, Germany, Engraving in black on ivory laid paper, 120 x 65 mm (image/sheet

Fair Lawn in the County of Kent, plate 49 from Britannia Illustrata, published 1707, Jan Kip (Dutch, c. 1653-1722), after Leonard Knyff (Dutch, 1650-1721), published by David Mortier (French, 1673-1728), Netherlands, Etching, with

Erato, plate fourteen from Apollo and the Muses, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving on paper, 179 x 100 mm (plate), 185 x 105 mm (sheet

After Lodi, he is named corporal upon returning to camp, published 1839, Quartley (19th century), after Denis Auguste Marie Raffet (French, 1804-1860), written by M. de Norvins (French, active 19th century), published Furne, Éditeur

Portrait of the Painter Giovanni Battista Piazzetta, c. 1750, Giovanni Marco Pitteri, Italian, 1702-1786, Venice, Engraving in black on paper, 450 x 343 mm (image/sheet, trimmed within plate mark

Samson and Delilah, 1545, Hans Brosamer, German, c. 1500-1554, Germany, Engraving in black on ivory laid paper, 80 x 97 mm (image/plate), 84 x 100 mm (sheet

Woman’s Head (turned to left), n.d., Anne Claude Philippe Caylus, French, 1692-1765, France, Etching and engraving on paper, 174 × 125 mm (image), 191 × 137 mm (plate), 216 × 158 mm (sheet

Mars Driven Away from Peace and Abundance by Minerva, 1589, Agostino Carracci (Italian, 1557-1602), after Jacopo Robusti, called Tintoretto (Italian, 1519-1594), Italy, Engraving in black on ivory laid paper, 192 x 254 mm (image), 195 x 256

Sigismonda, published June 4, 1795, Benjamin Smith (English, d. 1833), after William Hogarth (English, 1697-1764), published by J. & J. Boydell (English, 1719-1804), England, Engraving in black on tan wove paper, 328 × 416 mm (image),

Denis Talon, 1656, Robert Nanteuil, French, 1623-1678, France, Engraving on paper, 371 × 291 mm

Winter—A Skating Scene, published January 25, 1868, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 228 x 346 mm (image), 284 x 402 mm (sheet

Pull Devil, Pull Baker!, published April 30, 1819, George Cruikshank (English, 1792-1878), published by Thomas Tegg (English 1776-1846), England, Hand-colored engraving on paper, 205 × 327 mm (image), 240 × 340 mm (sheet, cut to plate

Apuleius Changed into a Donkey, 1530/40, Master of the Die (Italian, active c. 1530-1560), after Michiel Coxcie I (Flemish, 1499-1592), in turn, inspired by Raffaello Sanzio, called Raphael (Italian, 1483-1520), Italy, Engraving in warm

The Virgin on the Crescent with a Diadem, 1514, Albrecht Dürer, German, 1471-1528, Germany, Engraving in black on ivory laid paper, 118 x 77 mm (image/plate/sheet

Fitz William, Earl of Southampton, January 24, 1793, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on ivory wove paper, 349 x 270 mm (image), 408 x 328 mm (plate),

Bridge and Cows, plate 2 from Liber Studiorum, published June 11, 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, 182 ×

The Holy Family with the Infant John the Baptist, plate six from The Birth and Early Life of Christ, 1593, Hendrick Goltzius (Dutch, 1558-1617), text written by Cornelius Schonaeus, Netherlands, Engraving on paper, 461 x351 mm (image), 478 x

Michael Le Masle, 1661, Robert Nanteuil, French, 1623-1678, France, Etching and engraving on paper, 330 × 249 mm

The Triumph of Time, plate four from The Triumphs of Petrarch, c. 1539, Georg Pencz, German, c. 1500-1550, Germany, Engraving in black on ivory laid paper, 151 x 210 mm (image/plate/sheet

Jean Jacques Rousseau, 1764/72, Etienne Ficquet (French, 1719-1794), after Maurice-Quentin de la Tour (French, 1704-1788), France, Engraving on ivory laid paper, 120 × 74 mm (image), platemark not visible, 175 × 14 mm (sheet

Terpsichore, Muse of Dance, plate 9 from Parnassus Biceps, 1601, Johann Theodor de Bry (German, 1561-1623), after Jean-Jacques Boissard (French, 1533-1598), Frankfurt an der Oder, Engraving in black on ivory laid paper, 241 × 140 mm

Marching Beggar Woman with a Basket, 1634/38, Pieter Jansz Quast, Dutch, 1606-1647, The Netherlands, Engraving, with etching, on cream laid paper, 170 x 162 mm (image), 213 x 161 mm (plate), 267 x 174 mm (sheet

The Circle of the Corrupt Officials, the Devils Tormenting Ciampolo. Inferno, canto XXII, 1827, printed c. 1892, William Blake, English, 1757-1827, England, Hand-colored engraving on India paper, laid down on wove paper (chine collé), 237

Peter I of Russia, 1752, Jacobus Houbraken (Dutch, 1698-1780), after Carel de Moor (Dutch, 1656-1738), Holland, Engraving on paper, 266 x 175 mm (image), 271 x 182 mm (plate), 379 x 256 mm (sheet

The Invention of Oil Painting, c. 1591, Théodoor Galle (Flemish, 1571-1633), after Joannes Stradanus (Flemish, 1523-1605), Flanders, Engraving, with plate tone, in black on cream laid paper, 203 × 270 mm (image/sheet, trimmed within

At Sea—Signalling a Passing Steamer, published April 8, 1871, Winslow Homer (American, 1836-1910), published by Every Saturday (American, 1866-1874), United States, Wood engraving on paper, 233 x 307 mm (image), 283 x 384 mm (sheet

The Virgin on the Crescent with a Crown of Stars, 1508, Albrecht Dürer, German, 1471-1528, Germany, Engraving in black on cream laid paper, 117 x 75 mm (image/sheet

Plate Four, from Marriage à la Mode, 1745, Simon Francis Ravenet (French, 1706 or 1721-1774), after William Hogarth (English, 1697-1764), France, Etching and engraving in black on ivory laid paper, 354 × 445 mm (image), 387 × 465 mm

County Election, 1854, John Sartain (English, 1808-1897), after George Caleb Bingham (American, 1811-1879), England, Engraving hand-colored with watercolor on cream chine laid down on cream wove plate paper, 556 × 762 mm (image), 708 × 938

Large Female Head, c. 1786, Gilles Antoine Demarteau, the Younger (Flemish, c. 1750-1806), after Francois-Andre Vincent (French, 1746-1816), Flanders, Color crayon-manner etching and engraving on ivory laid paper, 533 × 411 mm (plate), 593

Design: Academic Figure, from Encyclopédie, 1762/77, Benoît-Louis Prévost (French, c. 1735-1809), after Charles-Nicholas Cochin, the younger (French, 1715-1790), published by André le Breton (French, 1708-1779), Michel-Antoine David

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