Images at Librifly

search results: Engraving clear search

Fame, plate 1 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, 225 × 161 mm (image), 257 × 161 mm

The Gods Celebrating the Wedding of Psyche and Cupid, 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,

Madeleine de la Tour d’Auvergne, published 1761, F.A. (German?, active 18th century), after I.Z. (German?, active 18th century), published by Giuseppe Allegrini, Florence, 1761, Germany, Engraving on ivory laid paper, 354 × 256 mm

Letter V, 1630, Peter Aubry, German, 1596-1668, Germany, Engraving on paper, 239 x 181 mm

The Too Credulous Psyche Looks at Cupid, 1530/40, Agostino dei Musi (Italian, c. 1490-after 1536), after Michiel Coxcie I (Flemish, 1499-1592), in turn, inspired by Raffaello Sanzio, called Raphael (Italian, 1483-1520), printed by Antonio

Mountain Man, n.d., Manuel Manilla, Mexican, 1830-c.1900, México, Relief engraving on typemetal on paper, 303 x 202 mm

Cardinal Mazarin, c. 1654, Robert Nanteuil, French, 1623-1678, France, Engraving on paper, 337 × 255 mm (plate), 343 × 261 mm (sheet

Forget Me Not (valentine), c. 1830, Unknown Artist, American or English, 19th century, United States, Engraving with hand-coloring on ivory card, 39 x 69 mm

Portrait of Father Arnoul de Loo, n.d., Pierre-Imbert Drevet (French, 1697-1739), after Jean-Baptiste Juvenet III (French, 1644-1717), France, Engraving on ivory laid paper, 286 × 217 mm (image), 320 × 221 mm (sheet, cut within platemark

The Wedding at Canaan, n.d., Sebald Beham, German, 1500-1550, Germany, Engraving in black on ivory laid paper, 46 x 74 mm (image/sheet, trimmed within plate mark

The Louvre, Viewed from the Pont-Neuf, plate thirteen 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

Plate Five, 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 × 444 mm (image), 387 × 467 mm

The Picnic Excursion, published August 14, 1869, Winslow Homer (American, 1836-1910), published by Appletons’ Journal (American, 1869-1881), United States, Wood engraving on paper, 166 x 232 mm (image), 194 x 272 mm (sheet

Letter Q, 1630, Peter Aubry, German, 1596-1668, Germany, Engraving on paper, 238 x 193 mm

Monsignor Pie, Bishop of Poitiers, 1879, Claude Ferdinand Gaillard, French, 1834-1887, France, Engraving on ivory China paper, laid down on white wove paper, 245 × 171 mm (plate), 298 × 217 mm (sheet

Calliope, plate eleven 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), 186 x 105 mm (sheet

Saint Jerome, 1630–35, Guido Reni, Italian, 1575-1642, Italy, Etching and engraving in black on ivory laid paper, 216 x 139 mm (plate), 227 x 150 mm (sheet

Hare Hunt, 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), Flanders, Engraving in

The Morning of the First Day of the Year, c. 1864, Charles Émile Jacque (French, 1813-1894), printed by Sarazin (French, 19th century), France, Etching, engraving, and drypoint on light gray China paper laid down on ivory wove paper, 150

Panel (Formerly Furnishing Textiles), Late 1880s/early 1890s, Designed by Lewis F. Day (English, 1845–1910), Produced by Turnbull & Stockdale, founded 1881, England, Ramsbottom, England, Cotton, twill weave with supplementary pile wefts

Ship Building, Gloucester Harbor, published October 11, 1873, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 235 x 347 mm (image), 280 x 401 mm (sheet

Winter-Quarters in Camp—The Inside of a Hut, published January 24, 1863, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on paper, 233 x 353 mm (image), 273 x 396 mm

What Does the Abbot Say About It, n.d., Nicolas Delaunay (French, 1739-1792), after Nicolas Lavrince (Swedish, 1737-1807), France, Engraving in black ink on ivory wove paper, 450 × 305 mm (image), 480 × 352 mm (plate), 504 × 355 mm

Astrology, plate 29 from Arts and Sciences, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving in black on ivory laid paper, 179 x 100 mm (plate), 186 x 106 mm (sheet

Plate Six, from A Rake’s Progress, June 1735, William Hogarth, English, 1697-1764, England, Etching and engraving in black on ivory laid paper, 315 × 386 mm (image), 357 × 410 mm (plate), 465 × 606 mm (sheet

Le Pont Saint-Michel, plate twelve 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

George Washington, c. 1792, Edward Savage, American, 1761–1817, United States, Engraving on ivory wove paper, 203 x 166 mm (plate), 253 x 208 mm (sheet

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

L’Avenue des Champs-Élysées, plate eighteen 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

Christopher Columbus, frontispiece from volume 5 of Theodor de Bry’s America, 1595, Attributed to Johann Theodor de Bry (German, 1561-1623), after Sebastiano del Piombo (Italian, c. 1485-1547), Germany, Engraving in black on ivory laid

Lake of Thun, plate 15 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 paper, 180 ×

Adriaen Motmans, n.d., Cornelis Visscher, the Elder, Netherlandish, c. 1520-1586, Holland, Engraving on paper

Le Petit Pont, Paris, 1850, Charles Meryon, French, 1821-1868, France, Etching and engraving in dark brown on ivory laid paper, 263 × 191 mm (image), 263 × 191 mm (plate), 346 × 263 mm (sheet

The Galliot of Jean de Vyl of Rotterdam, 1850, Charles Meryon (French, 1821-1868), after Reinier Nooms (Dutch, c. 1623-c. 1664), France, Etching, engraving and roulette on tan wove paper, 67 × 119 mm (image), 67 × 119 mm (plate), 72 ×

Thenot Remonstrates with Colinet, Lightfoot in Background, from The Pastorals of Virgil, 1821, William Blake, English, 1757-1827, England, Wood engraving on off-white wove paper, 33 × 73 mm (image/block), 39 × 78 mm (sheet

The King, plate eight 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 101 mm (plate), 183 x 105 mm (sheet

Samson Killing the Lion, 1603, Nicolaes de Bruyn (Flemish, 1571-1656), after Gillis van Coninxloo (Netherlandish, c. 1544-1607), Flanders, Engraving in black on ivory laid paper, 442 × 688 mm

Solway Moss, plate 52 from Liber Studiorum, published January 1, 1816, Joseph Mallord William Turner (English, 1775-1851), Engraved by Tho. Lupton, England, Etching and engraving in brown on buff wove paper, 185 × 268 mm (image), 209.5 ×

Combat of Two Wild Men on Horseback, 1475/85, Israhel van Meckenem the Younger (German, c. 1440/45-1503), after Master of the Housebook (German, active c. 1470-1500), Germany, Engraving on ivory laid paper, 140 x 211 mm

Frontispiece from Cipriani’s Rudiments of Drawing, 1792, Francesco Bartolozzi, Italian, 1727-1815, Italy, Color engraving and stipple engraving, on paper, 202 x 298 mm (plate), 271 x 382 mm (sheet

The Pleasures of Education, 1777, Louis-Marin Bonnet, French, 1736-1793, France, Pastel-manner engraving and etching in color, with gold leaf, on ivory laid paper, 293 × 238 mm (image), 315 × 245 mm (sheet

Adoration of the Shepherds, n.d., Pierre-François Basan (French, 1723-1797), after Peter Paul Rubens (Flemish, 1577–1640), France, Engraving in black on ivory laid paper, laid down on ivory laid paper with an ivory laid paper collar,

The Prodigal Son with the Swine, plate three from The History of the Prodigal Son, n.d., Sebald Beham, German, 1500-1550, Germany, Engraving in black on ivory laid paper, 59 x 96 (image/plate), 71 x 116 (sheet

Design: Heads, from Encyclopédie, 1762/77, Benoît-Louis Prévost (French, c. 1735-1809), after Raffaello Sanzio, called Raphael (Italian, 1483-1520), published by André le Breton (French, 1708-1779), Michel-Antoine David (French, c.

Jupiter and Callisto, 1560/70, Domenico Vito (Italian, active 1576-1586), after Pierre Milan (French, died 1557), after Francesco Primaticcio (Italian, 1504-1570), Italy, Engraving in black on ivory laid paper, 189 x 282 mm (plate), 210 x

Crowning of Voltaire, 1778–82, Charles-Etienne Gaucher (French, 1741-1804), after Jean Michel Moreau (French, 1741-1814), France, Etching and engraving on paper, 177 × 235 mm (image), 207 × 237 mm (sheet

The Clock Tower, Paris, 1852, Charles Meryon (French, 1821-1868), printed by Auguste Delâtre (French, 1822-1907), published by L’Artiste (French, 1831-1904), France, Etching and engraving on tan wove chine, laid down on ivory wove

The Death of the Children of Niobe, 1541, School of Marcantonio Raimondi, Italian, c. 1480-1534, Italy, Engraving in black on paper, 332 x 445 mm (sheet

Hudibras in Tribulation, plate six from Hudibras, February 1725/26, William Hogarth, English, 1697-1764, England, Etching and engraving in black on cream paper edge mounted on cream wove paper, 239 × 340 mm (image), 268 × 352 mm (plate),

Sir John Gage, March 12, 1796, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on cream wove paper, 395 x 285 mm (image), 443 x 330 mm (sheet, cut within platemark

Copy of Botanical Engraving of Celtis, 1840/45, William Henry Fox Talbot, English, 1800–1877, England, Salted paper print, 21.5 × 16 cm (image), 23.2 × 18.7 cm (paper

Jean Loret, 1658, Robert Nanteuil, French, 1623-1678, France, Engraving on paper, 257 × 182 mm

The Weather Peasant Das Schadet Nit, c. 1542, Sebald Beham, German, 1500-1550, Germany, Engraving in black on ivory laid paper, 44 x 28 mm (image/plate), 45 x 29 mm (sheet

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

The Departure, 1795, Charles-Melchior Descourtis, French, 1753-1820, France, Etching and engraving printed in yellow, blue, red, and black inks on paper, 375 × 412 mm (image), 416 × 474 mm (sheet, cut within platemark

Triumphal March, from Combats and Triumphs, 1550/1572, Etienne Delaune, French, c. 1519-1583, France, Engraving on paper, 70 × 223 mm

Pierre Simon, Engraver, 1694, Gérard Edelinck (French, born Flanders, 1640-1707), after Pierre Simon (French, c. 1650-1710), France, Engraving on paper, 364 × 252 mm (sheet, trimmed within platemark

Rhetoric, plate 23 from Arts and Sciences, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving in black on ivory laid paper, 179 x 100 mm (plate), 185 x 107 mm (sheet

Tempting Offers, 1782, Jean Louis Delignon (French, 1755-1804), after Nicolas Lavreince (Swedish, 1737-1807), France, Engraving and etching on ivory laid paper, 370 × 269 mm (image), 399 × 286 mm (sheet

Portrait of a Young Woman, August 13, 1798, Francesco Bartolozzi (Italian, 1727-1815), after Hans Holbein the younger (German, 1497-1543), Italy, Stipple engraving on cream wove paper, 270 x 187 mm (image), 312 x 228 mm (plate), 443 x 307

Monseigneur the Dauphin of France, 1730/33, Jean Daullé (French, 1703-1763), after Alexis-Simon Belle (French, 1674-1734), France, Engraving on ivory laid paper, 393 × 272 mm (image), 407 × 280 mm (plate), 515 × 399 mm (sheet

Danger Ahead, published April 30, 1870, Winslow Homer (American, 1836-1910), published by Appletons’ Journal (American, 1869-1881), United States, Wood engraving on paper, 156 x 165 mm (image), 278 x 193 mm (sheet

The Flagellation, plate six from The Passion of Christ, 1597, Hendrick Goltzius, Dutch, 1558-1617, Netherlands, Engraving in black on cream laid paper, 196 x 129 mm (image), 204 x 135 mm (plate), 318 x 247 mm (sheet

Various Slanted Calligraphy, 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),

Jupiter and Mercury with Baucis and Philemon, c. 1650, Nicolaes Lauwers (Flemish, 1600-1652), after Jacob Jordaens (Flemish, 1593-1678), Flanders, Engraving on paper, 487 × 565 mm (plate), 494 × 567 mm (sheet

Etching: Biting the Plate, from Encyclopédie, 1762/77, A. J. Defehrt (French, active 18th century), after Benoît-Louis Prévost (French, c. 1735-1809), published by André le Breton (French, 1708-1779), Michel-Antoine David (French, c.

King Christian II of Denmark, about 1529, Jacob Binck (German, c. 1500-1569), after Jan Gossaert (Flemish, 1478-1532), Germany, Engraving in black on ivory laid paper, 264 x 217 mm (image/sheet), Mlle. Lavergne, Niece of Mr. Liotard, n.d.,

Music, plate 26 from Arts and Sciences, c. 1465, Master of the E-Series Tarocchi, Italian, active c. 1465, Italy, Engraving, with brush and light yellow metallic wash, on ivory laid paper, 179 x 100 mm

Combat of Centaurs and Lapiths, 1550/1572, Etienne Delaune, French, 1518/19-c.1583, France, Engraving on ivory laid paper, 67 × 221 mm (image/plate), 361 × 266 mm (sheet

The Battle of the Amazons, 1543, Enea Vico, Italian, 1523-1567, Italy, Engraving in black on ivory laid paper, 209 x 280 mm

Woman on a Donkey, 1650/60, Cornelis Visscher (Dutch, c. 1629-1658), after Nicolaes Berchem. the Elder (Dutch, 1621/22-1683), Holland, Engraving on paper, 265 x 213 mm

Paulus Pontius, 1630/33, Anthony van Dyck, Flemish, 1599-1641, Flanders, Etching and engraving in black on ivory laid paper, 230 × 182 mm (image/plate), 255 × 190 mm (sheet

The Madonna and Child with an Apple, c. 1475, Martin Schongauer, German, c. 1450-1491, Germany, Engraving on paper, 162 × 81 mm

Hardouin de Péréfixe de Beaumont, 1665, Robert Nanteuil, French, 1623-1678, France, Engraving on paper, 503 × 424 mm (plate), 521 × 445 mm (sheet

The Lion Bas-Reliefs, plate 5 from Imaginary Prisons, 1761, Giovanni Battista Piranesi, Italian, 1720-1778, Italy, Etching and engraving on heavy ivory laid paper, 566 x 414 mm (image), 566 x 414 mm (plate), 789 x 585 mm (sheet

Novus Orbis, 1889, Unknown Artist (English, 19th century), reproduced from the collection of Richard Hakluyt (English, 1552-1616), England, Engraving in black on cream laid paper, 250 × 328 mm

Portrait of Cardinal Zacharias de Mez, c. 1661, Johannes Visscher, Dutch, 1633-1692, Holland, Engraving on ivory laid paper, 432 x 286 mm

Design: Proportions of the Medici Venus, 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,

Apollo, 1588, Hendrick Goltzius, Dutch, 1558-1617, Netherlands, Engraving in black ink on off-white laid paper, 350 x 263 mm (image/plate), 360 x 264 mm (sheet

Plate Seven, from A Rake’s Progress, June 1735, William Hogarth, English, 1697-1764, England, Etching and engraving in black on ivory laid paper, 315 × 385 mm (image), 355 × 405 mm (plate), 474 × 596 mm (sheet

St. Thomas, from Apostles, n.d., Martin Schongauer, German, c. 1450-1491, Germany, Engraving on paper, 90 × 50 mm (plate), 91 × 53 mm (sheet

Furnishing Fabric, 1827/40, Designed by Philippe Wyngaert (Flemish, active c. 1820) after engraving by Jean-Pierre-Marie Jazet (French, 1788-1871 after Henry-Joseph Fradelle (French, 1788-?), France, possibly Alsace or Bolbec, France,

Copperplate Engraving, from Encyclopédie, 1762/77, A. J. Defehrt (French, active 18th century), after Benoît-Louis Prévost (French, c. 1735-1809), published by André le Breton (French, 1708-1779), Michel-Antoine David (French, c.

Frontispiece, from Various Scenes Designed in Florence, 1630, François Collignon (French, c. 1609–1657), after Jacques Callot (French, 1592–1635), France, Etching with engraving on paper, 116 × 241 mm (image/plate/sheet

Honest Iago, my Desdemona must I leave to thee, plate four from Othello, 1844, Théodore Chassériau, French, 1819-1856, France, Etching, engraving, roulette, and drypoint on paper, 284 × 212 mm (image), 365 × 266 mm (plate), 638 ×

Thomas Wright, 1737, Thomas Frye, Irish, 1710-1762, Ireland, Mezzotint with engraving in black on ivory laid paper, 328 x 251 mm (image), 352 x 251 mm (sheet, trimmed within plate mark), Cupid and Psyche, n.d., James McArdell (Irish, c.

Gloucester Harbor, published September 27, 1873, Winslow Homer (American, 1836-1910), published by Harper’s Weekly (American, 1857-1916), United States, Wood engraving on buff wove paper, 234 x 354 mm (image), 283 x 397 mm (sheet

Portrait of Martin Luther, 1530, Master I.B., German, died 1525/30, Germany, Engraving in black on paper, 85 x 70 mm (sheet

Adrienne-Sophie, Marquise of ***, 1779, Augustin de Saint-Aubin, French, 1736-1807, France, Etching and engraving in black on ivory laid paper, 260 × 183 mm (image), 284 × 205 mm (plate), 300 × 218 mm (sheet

Hudibras and Sidrophel, plate eight from Hudibras, February 1725/26, William Hogarth, English, 1697-1764, England, Etching and engraving in black on cream paper edge, mounted on cream wove paper, 242 × 346 mm (image), 271 × 357 mm

Hat and Guitar, frontispiece for the edition of fourteen etchings, 1874, Édouard Manet (French, 1832-1883), published by Alfred Cadart (French, 1828-1875), France, Etching, aquatint, drypoint, and engraving in black on blue wove paper,

The Fugitive Slave, 1795, Charles-Melchior Descourtis, French, 1753-1820, France, Etching and engraving printed in yellow, blue, red, and black inks on paper, 375 × 412 mm (image), 410 × 470 mm (sheet, cut within platemark

The Well, plate 13 from Imaginary Prisons, 1761, Giovanni Battista Piranesi, Italian, 1720-1778, Italy, Etching and engraving on heavy ivory laid paper, 400 x 544 mm (image), 406 x 550 mm (plate), 418 x 565 mm (sheet), Sketchbook No. 2

Holy Family, n.d., Cornelis Visscher (Dutch, c. 1629-1658), after Paolo Caliari, called Veronese (Italian, 1528-1588), Holland, Engraving on paper

Alexander and Roxana, 16th century, Giovanni Jacopo Caraglio (Italian, 1500/05–1565), after Rafaello Sanzio, called Raphael (Italian, 1483–1520), Italy, Engraving printed in black on paper, 219 x 312 mm

The Judgment of Paris, c. 1520, Printed by Antonio Salamanca (Italian, 1478-1562), by or after Marcantonio (Italian c. 1480-1534), after Raffaello Sanzio, called Raphael (Italian, 1483-1520), Italy, Engraving in black on ivory laid paper,

Whixley, plate 78 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 engraving in black on cream laid

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

Landscape with the Great Ruins, from The Small Landscapes, c. 1638, Schelte Adamsz. Bolswert (Dutch, active in Flanders, c. 1586–1659), after Peter Paul Rubens (Flemish, c. 1577-1640), Flanders, Engraving on ivory laid paper, 329 × 442

Le Déjeuner de Voltaire à Ferney or Le Souper des Philosophes, c. 1773–75, Unknown Artist, after Jean Huber (Swiss, 1721-1786), Switzerland, Etching in black on bluish gray laid paper, 207 x 315 mm (image), 234 x 344 mm (plate), 290 x

search results: Engraving clear search