Etchings 16th century hi-res stock photography and images

Art inspired by Scrapbook containing Italian Etchings of the XVIth and XVIIth Centuries, 16th–17th century, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photo

RF2HW608C–Art inspired by Scrapbook containing Italian Etchings of the XVIth and XVIIth Centuries, 16th–17th century, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

The Cannon, 1518, Albrecht Dürer, German, 1471–1528, 8 9/16 x 12 1/2 in. (21.75 x 31.75 cm) (plate), Etching on iron, Germany, 16th century, The toolbox on this cannon bears the arms of Nuremberg, Albrecht Dürer's birthplace and home to several of Emperor Maximilian's arms foundries. What's more, the Turk at right is believed to bear the face of Dürer himself. The artist made just six etchings on iron, probably abandoning the medium because he was dissatisfied with the coarse, crumbly lines that resulted. Stock Photo

RM2T91KBX–The Cannon, 1518, Albrecht Dürer, German, 1471–1528, 8 9/16 x 12 1/2 in. (21.75 x 31.75 cm) (plate), Etching on iron, Germany, 16th century, The toolbox on this cannon bears the arms of Nuremberg, Albrecht Dürer's birthplace and home to several of Emperor Maximilian's arms foundries. What's more, the Turk at right is believed to bear the face of Dürer himself. The artist made just six etchings on iron, probably abandoning the medium because he was dissatisfied with the coarse, crumbly lines that resulted.

Scrapbook containing Italian Etchings of the XVIth and XVIIth Centuries. Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAJNGP–Scrapbook containing Italian Etchings of the XVIth and XVIIth Centuries. Date: 16th-17th century. Museum: Metropolitan Museum of Art, New York, USA.

Scrapbook containing Italian Etchings of the XVIth and XVIIth Centuries, 16th–17th century Stock Photo

RMKCDJN2–Scrapbook containing Italian Etchings of the XVIth and XVIIth Centuries, 16th–17th century

The Calvary, c. 1520. Although recipes for etching iron and steel are recorded at least as early as 1400, scholars have been unable to show that armor designs were etched in Italy or Germany before the end of the 15th century. As early as 1500 iron plates were also used to make prints, probably first in Augsburg, Germany, in the workshop of Daniel Hopfer. Etching allows the artist to draw freely on the plate and so is less laborious than engraving. Because of the acid then available, only iron or steel plates could be used and these rusted. For this reason only a small number of etchings were Stock Photo

RM2A52EAX–The Calvary, c. 1520. Although recipes for etching iron and steel are recorded at least as early as 1400, scholars have been unable to show that armor designs were etched in Italy or Germany before the end of the 15th century. As early as 1500 iron plates were also used to make prints, probably first in Augsburg, Germany, in the workshop of Daniel Hopfer. Etching allows the artist to draw freely on the plate and so is less laborious than engraving. Because of the acid then available, only iron or steel plates could be used and these rusted. For this reason only a small number of etchings were

Ornamental Leg-Shaped Vessel, 1543, Augustin Hirschvogel, German, 1503-1553, 6 1/8 x 3 1/2 in. (15.56 x 8.89 cm) (image), Engraving, Germany, 16th century, These fantastical vessels, one with a serpent handle (P.68.187) and another with furry legs (P.68.188), hint at the innovations to come from the mind of Augustin Hirschvogel. They were made in 1543, about the time Hirschvogel moved to Vienna after working as a glass painter and cartographer in Nuremberg and present-day Yugoslavia. In Vienna, he used the spontaneity of line exhibited in these ornament prints Stock Photo

RM2T91DJK–Ornamental Leg-Shaped Vessel, 1543, Augustin Hirschvogel, German, 1503-1553, 6 1/8 x 3 1/2 in. (15.56 x 8.89 cm) (image), Engraving, Germany, 16th century, These fantastical vessels, one with a serpent handle (P.68.187) and another with furry legs (P.68.188), hint at the innovations to come from the mind of Augustin Hirschvogel. They were made in 1543, about the time Hirschvogel moved to Vienna after working as a glass painter and cartographer in Nuremberg and present-day Yugoslavia. In Vienna, he used the spontaneity of line exhibited in these ornament prints

Burial of Francis Drake at sea in January 1596 Stock Photo

RMTB787G–Burial of Francis Drake at sea in January 1596

Wenceslaus Hollar. Title Page from Diversae Insectorum. 1644–1652. Bohemia. Etching on ivory laid paper A prolific and multitalented artist, Wenceslaus Hollar produced almost 3,000 etchings over the course of some 50 years, with subjects ranging from fashion and portraiture to architecture and landscape. This etching is the title page to a set of six scientific renderings of insects and other small creatures. Remarkable for their virtuosity and detail, the technical presentation of these works is most likely attributed to the invention of the microscope at the end of the 16th century. Stock Photo

RM2AHPY08–Wenceslaus Hollar. Title Page from Diversae Insectorum. 1644–1652. Bohemia. Etching on ivory laid paper A prolific and multitalented artist, Wenceslaus Hollar produced almost 3,000 etchings over the course of some 50 years, with subjects ranging from fashion and portraiture to architecture and landscape. This etching is the title page to a set of six scientific renderings of insects and other small creatures. Remarkable for their virtuosity and detail, the technical presentation of these works is most likely attributed to the invention of the microscope at the end of the 16th century.

Adam Elsheimer portrait, 1578 – 1610, was a German artist working in Rome who died at only thirty-two, but was very influential in the early 17th century in the field of Baroque paintings, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RMRATCCN–Adam Elsheimer portrait, 1578 – 1610, was a German artist working in Rome who died at only thirty-two, but was very influential in the early 17th century in the field of Baroque paintings, etching by Bohemian etcher Wenceslaus Hollar from 1600s

The Expulsion. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J004XW–The Expulsion. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

Pan, Nicolo Vicentino (Italy, Vicenza, active mid-16th century), Girolamo Francesco Maria Mazzola (called Parmigianino) (Italy, Parma, 1503-1540) M.88.91.239 Stock Photo

RMDB4F78–Pan, Nicolo Vicentino (Italy, Vicenza, active mid-16th century), Girolamo Francesco Maria Mazzola (called Parmigianino) (Italy, Parma, 1503-1540) M.88.91.239

William Oughtred portrait, 1574 – 1660 was an English mathematician and Anglican clergyman, inventor of the slide rule in 1622, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RMT76T5F–William Oughtred portrait, 1574 – 1660 was an English mathematician and Anglican clergyman, inventor of the slide rule in 1622, etching by Bohemian etcher Wenceslaus Hollar from 1600s

London, UK. 3 May 2017. Visitors view 16th century etchings at the preview of the 32nd London Original Print Fair at the Royal Academy of Arts in Piccadilly. 51 international specialist dealers are presenting works in the print medium to buyers from 4 May to 7 May. Credit: Stephen Chung / Alamy Live News Stock Photo

RMJ35R4T–London, UK. 3 May 2017. Visitors view 16th century etchings at the preview of the 32nd London Original Print Fair at the Royal Academy of Arts in Piccadilly. 51 international specialist dealers are presenting works in the print medium to buyers from 4 May to 7 May. Credit: Stephen Chung / Alamy Live News

The Royal Exchange in London was founded in the 16th century by the merchant Thomas Gresham on the suggestion of his factor Richard Clough to act as a centre of commerce for the City of London. Etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RMRE0N27–The Royal Exchange in London was founded in the 16th century by the merchant Thomas Gresham on the suggestion of his factor Richard Clough to act as a centre of commerce for the City of London. Etching by Bohemian etcher Wenceslaus Hollar from 1600s

William Byrd. Portrait of the English Renaissance composer, William Byrd (c. 1540-1623), undated etching by Gerard Vandergucht (1696–1776) Stock Photo

RM2X878JA–William Byrd. Portrait of the English Renaissance composer, William Byrd (c. 1540-1623), undated etching by Gerard Vandergucht (1696–1776)

Inigo Jones portrait, 1573 – 1652, was the first significant English architect in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RMRBPEJX–Inigo Jones portrait, 1573 – 1652, was the first significant English architect in the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings, etching by Bohemian etcher Wenceslaus Hollar from 1600s

Giordano Bruno. Portrait of the Italian philosopher and poet, Giordano Bruno (b. Filippo Bruno, 1548-1600) Stock Photo

RM2Y4BW53–Giordano Bruno. Portrait of the Italian philosopher and poet, Giordano Bruno (b. Filippo Bruno, 1548-1600)

John Overall, 1559 – 1619, was bishop of the see of Norwich from 1618 until his death one year later, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2ANWE96–John Overall, 1559 – 1619, was bishop of the see of Norwich from 1618 until his death one year later, etching by Bohemian etcher Wenceslaus Hollar from 1600s

David and Goliath. An etching by Hanns Lautensack, 1551. Stock Photo

RMM7A6TJ–David and Goliath. An etching by Hanns Lautensack, 1551.

John Clench portrait, (died 1607), was an English judge, etching by Bohemian etcher Wenceslaus Hollar from 1664 Stock Photo

RMRC0TN2–John Clench portrait, (died 1607), was an English judge, etching by Bohemian etcher Wenceslaus Hollar from 1664

Hernán Cortés de Monroy y Pizarro Altamirano, Marquis of the Valley of Oaxaca (1485-1547). Engraving of the Spanish conquistador, Hernan Cortes, meeting the Aztec emperor Moctezuma II (Montezuma) in Tenochtitlan in 1519. Stock Photo

RMM7T9JM–Hernán Cortés de Monroy y Pizarro Altamirano, Marquis of the Valley of Oaxaca (1485-1547). Engraving of the Spanish conquistador, Hernan Cortes, meeting the Aztec emperor Moctezuma II (Montezuma) in Tenochtitlan in 1519.

Imaginary Landscape. Artist: Hanns Lautensack (German, Bamberg (?) ca. 1520-1564/66 Vienna). Dimensions: 5 11/16 x 8 3/8 in. (14.4 x 21.3 cm). Date: 1543. This drawing, dated 1543, is one of a homogeneous group of eight that correspond to a series of landscape etchings all attributable to Hanns Lautensack in his early years. Sharing the same decorative quality and refined sense of craft, these related drawings belong to a tradition of 'imaginary landscapes' that gained popularity around the middle of the sixteenth century, especially in the Netherlands. The markedly decorative execution of Stock Photo

RMPA83XP–Imaginary Landscape. Artist: Hanns Lautensack (German, Bamberg (?) ca. 1520-1564/66 Vienna). Dimensions: 5 11/16 x 8 3/8 in. (14.4 x 21.3 cm). Date: 1543. This drawing, dated 1543, is one of a homogeneous group of eight that correspond to a series of landscape etchings all attributable to Hanns Lautensack in his early years. Sharing the same decorative quality and refined sense of craft, these related drawings belong to a tradition of 'imaginary landscapes' that gained popularity around the middle of the sixteenth century, especially in the Netherlands. The markedly decorative execution of

Alethea Howard portrait, 14th Baroness Talbot, 17th Baroness Strange of Blackmere, 13th Baroness Furnivall, Countess of Arundel, 1585 – 1654, née Lady Alethea Talbot, was the wife of Thomas Howard, 21st Earl of Arundel, etching by Bohemian etcher Wenceslaus Hollar from 1646 Stock Photo

RMRAYEBW–Alethea Howard portrait, 14th Baroness Talbot, 17th Baroness Strange of Blackmere, 13th Baroness Furnivall, Countess of Arundel, 1585 – 1654, née Lady Alethea Talbot, was the wife of Thomas Howard, 21st Earl of Arundel, etching by Bohemian etcher Wenceslaus Hollar from 1646

Scrapbook containing Italian Etchings of the XVIth and XVIIth Centuries, 16th-17th century. [The Suicide of Dido]. Stock Photo

RM2D6DEFB–Scrapbook containing Italian Etchings of the XVIth and XVIIth Centuries, 16th-17th century. [The Suicide of Dido].

The Festival, after 1520, Daniel Hopfer, German, c. 1470-1536, 9 11/16 x 9 9/16 in. (24.61 x 24.29 cm) (plate), Etching on iron, Germany, 16th century, Early printmakers never tired of depicting peasant shenanigans. In the sixteenth century peasants were seen by some as emblems of native German culture, while others, like Martin Luther, worried they would disrupt the social order. Across the two halves of The Festival, separated down the middle by a tree, peasants engage in the excesses that so fascinated the staid middle class-imbibing, arguing, fondling, dancing, and vomiting. Stock Photo

RM2T91DXX–The Festival, after 1520, Daniel Hopfer, German, c. 1470-1536, 9 11/16 x 9 9/16 in. (24.61 x 24.29 cm) (plate), Etching on iron, Germany, 16th century, Early printmakers never tired of depicting peasant shenanigans. In the sixteenth century peasants were seen by some as emblems of native German culture, while others, like Martin Luther, worried they would disrupt the social order. Across the two halves of The Festival, separated down the middle by a tree, peasants engage in the excesses that so fascinated the staid middle class-imbibing, arguing, fondling, dancing, and vomiting.

Alexander the Great kneeling before the High Priest of Ammon, engraving, Francesco Salviati, c. 1530 Stock Photo

RMT4BNER–Alexander the Great kneeling before the High Priest of Ammon, engraving, Francesco Salviati, c. 1530

Giovanni Battista Piranesi. View of the Grand Cascade at Tivoli, from Views of Rome. 1766. Italy. Etching on ivory laid paper Giovanni Battista Piranesi had supplied decades of tourists with his massive, masterly etchings of architectural monuments in Rome and its environs by the time he completed his Views of Rome series in the late 1770s. The waterfall pictured here, in the ancient town of Tivoli, was a natural wonder, and the 16th-century Villa d’Este nearby channeled the same waterpower into a flamboyantly artificial series of fountains, automata (mechanical toys moved by water), and strat Stock Photo

RM2AHT15M–Giovanni Battista Piranesi. View of the Grand Cascade at Tivoli, from Views of Rome. 1766. Italy. Etching on ivory laid paper Giovanni Battista Piranesi had supplied decades of tourists with his massive, masterly etchings of architectural monuments in Rome and its environs by the time he completed his Views of Rome series in the late 1770s. The waterfall pictured here, in the ancient town of Tivoli, was a natural wonder, and the 16th-century Villa d’Este nearby channeled the same waterpower into a flamboyantly artificial series of fountains, automata (mechanical toys moved by water), and strat

An Artist Adoring a Statue of Virtue, 1783, Claude Hoin, French, 1750-1817, France, Watercolor and gouache, over black chalk, on ivory laid paper, laid down on off-white laid paper, 408 × 277 mm (primary support), 475 × 340 mm (secondary support), Metamorphoses by Ovid (Le Metamorfosi di Ovidio), 1584, Giacomo Franco (Italian, 1550-1620), written by Ovid (Ancient Roman, 43 B.C.-17 A.D.), translated by Giovanni Andrea dell’ Anquillara (Italian, 1517-1565), published by Presso Bernardo Giunti (Italian, 16th century), Italy, Book with etchings and letterpress in black on cream laid paper, 232 x Stock Photo

RM2A2KX53–An Artist Adoring a Statue of Virtue, 1783, Claude Hoin, French, 1750-1817, France, Watercolor and gouache, over black chalk, on ivory laid paper, laid down on off-white laid paper, 408 × 277 mm (primary support), 475 × 340 mm (secondary support), Metamorphoses by Ovid (Le Metamorfosi di Ovidio), 1584, Giacomo Franco (Italian, 1550-1620), written by Ovid (Ancient Roman, 43 B.C.-17 A.D.), translated by Giovanni Andrea dell’ Anquillara (Italian, 1517-1565), published by Presso Bernardo Giunti (Italian, 16th century), Italy, Book with etchings and letterpress in black on cream laid paper, 232 x

Canto VI. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J04P5Y–Canto VI. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

The Festival, after 1520, Daniel Hopfer, German, c. 1470-1536, 9 5/8 x 19 3/16 in. (24.45 x 48.74 cm) (plate) (overall), Etching on iron, two sheets, Germany, 16th century, Early printmakers never tired of depicting peasant shenanigans. In the sixteenth century peasants were seen by some as emblems of native German culture, while others, like Martin Luther, worried they would disrupt the social order. Across the two halves of The Festival, separated down the middle by a tree, peasants engage in the excesses that so fascinated the staid middle class Stock Photo

RM2T91DWW–The Festival, after 1520, Daniel Hopfer, German, c. 1470-1536, 9 5/8 x 19 3/16 in. (24.45 x 48.74 cm) (plate) (overall), Etching on iron, two sheets, Germany, 16th century, Early printmakers never tired of depicting peasant shenanigans. In the sixteenth century peasants were seen by some as emblems of native German culture, while others, like Martin Luther, worried they would disrupt the social order. Across the two halves of The Festival, separated down the middle by a tree, peasants engage in the excesses that so fascinated the staid middle class

Alexander the Great meeting Diogenes, etching, circa 1580-1640 Stock Photo

RM2B6268B–Alexander the Great meeting Diogenes, etching, circa 1580-1640

Queen Elizabeth I of England (1533 - 1603). Engraving created in the 1700s by Michael van der Gucht (1660-1725), after a portrait by Sir Anthony More (c. 1520 - c. 1576). Stock Photo

RF2BPWR7Y–Queen Elizabeth I of England (1533 - 1603). Engraving created in the 1700s by Michael van der Gucht (1660-1725), after a portrait by Sir Anthony More (c. 1520 - c. 1576).

Julius Caesar from Twelve Caesars on Horseback, engraving by Abraham de Bruyn, c. 1565 Stock Photo

RMT4GYCH–Julius Caesar from Twelve Caesars on Horseback, engraving by Abraham de Bruyn, c. 1565

Dictionary of painters and engravers . nese were the particularobjects of his imitation, and one of his best pictures,a St. James raising a dead person, in the Osser-vanza, at Pavia, is painted much in the style ofPaolo. He also executed some etchings after theVenetian masters, among which are an Adora-tion of the Shepherds, after Tintoretto, and an Adoration of the Magi, after P. Veronese. liedied at Pavia in 1706. SACCHI, Gasparo, of Imola, flourished in theearly part of the 16th century, and painted manypictures in Ravenna and other parts of the Eo-magna. In the sacristy of Castel S. Pietro Stock Photo

RM2AJ1Y2A–Dictionary of painters and engravers . nese were the particularobjects of his imitation, and one of his best pictures,a St. James raising a dead person, in the Osser-vanza, at Pavia, is painted much in the style ofPaolo. He also executed some etchings after theVenetian masters, among which are an Adora-tion of the Shepherds, after Tintoretto, and an Adoration of the Magi, after P. Veronese. liedied at Pavia in 1706. SACCHI, Gasparo, of Imola, flourished in theearly part of the 16th century, and painted manypictures in Ravenna and other parts of the Eo-magna. In the sacristy of Castel S. Pietro

Pieter Brueghel the Elder, The Rabbit Hunters, etching, 1560 Stock Photo

RM2XC2J6G–Pieter Brueghel the Elder, The Rabbit Hunters, etching, 1560

The courtyard of the Museo Can Morey de Santmarti in Palma de Mallorca, which houses a permanent exhibition of works by Salvador Dali. Stock Photo

RMR7NR1C–The courtyard of the Museo Can Morey de Santmarti in Palma de Mallorca, which houses a permanent exhibition of works by Salvador Dali.

Albrecht Durer, The Landscape with the Cannon, etching in steel, 1518 Stock Photo

RM2MFFX24–Albrecht Durer, The Landscape with the Cannon, etching in steel, 1518

RMBGYB1M–Bronze plate from Benin

Henry IV, King of France, etching by Antonio Tempesta, - 20110526 PD2995 - Rechteinfo: Rights Managed (RM) Stock Photo

RM2X1CEBW–Henry IV, King of France, etching by Antonio Tempesta, - 20110526 PD2995 - Rechteinfo: Rights Managed (RM)

Hernán Cortés de Monroy y Pizarro Altamirano, Marquis of the Valley of Oaxaca (1485-1547). Portrait of the Spanish conquistador, Hernan Cortes, Antonio Carnicero, 1791. Stock Photo

RMM7T9JN–Hernán Cortés de Monroy y Pizarro Altamirano, Marquis of the Valley of Oaxaca (1485-1547). Portrait of the Spanish conquistador, Hernan Cortes, Antonio Carnicero, 1791.

The Dispute Between Neptune and Athena. Artist: Antonio Fantuzzi (Italian, active France, 1537-45); After Rosso Fiorentino (Italian, Florence 1494-1540 Fontainebleau). Dimensions: Sheet (trimmed): 10 5/16 × 16 1/8 in. (26.2 × 41 cm). Date: 1540-45. Together with Léon Davent, Jean Mignon, and the Master IV, Fantuzzi was one of four artists who worked at Fontainebleau during the three years of intense productivity, 1542-45, when so many etchings were produced after designs for the palace decoration. Of Bolognese origin, Fantuzzi was an assistant to his compatriot Primaticcio in the decoration o Stock Photo

RMPAARY1–The Dispute Between Neptune and Athena. Artist: Antonio Fantuzzi (Italian, active France, 1537-45); After Rosso Fiorentino (Italian, Florence 1494-1540 Fontainebleau). Dimensions: Sheet (trimmed): 10 5/16 × 16 1/8 in. (26.2 × 41 cm). Date: 1540-45. Together with Léon Davent, Jean Mignon, and the Master IV, Fantuzzi was one of four artists who worked at Fontainebleau during the three years of intense productivity, 1542-45, when so many etchings were produced after designs for the palace decoration. Of Bolognese origin, Fantuzzi was an assistant to his compatriot Primaticcio in the decoration o

Arthur Lake portrait, 1569 – 1626, was Bishop of Bath and Wells and a translator of the King James Version of The Bible, etching by Bohemian etcher Wenceslaus Hollar from 1640 Stock Photo

RMRB1F37–Arthur Lake portrait, 1569 – 1626, was Bishop of Bath and Wells and a translator of the King James Version of The Bible, etching by Bohemian etcher Wenceslaus Hollar from 1640

Landscape with a Road to a Castle on an Island in a River, 1554. Hanns Lautensack was born in Bamberg, but fled to Nuremberg with his family in 1527 to escape religious persecution. Although he is referred to as a painter in various documents, no examples survive. He made 16 small landscape etchings in 1553 and 1554. Like Altdorfer and Hirschvogel, Lautensack depicted inhabited, mountainous views reminiscent of the German countryside with details such as huge pine trees with dripping branches, calm rivers, and castles perched on rock outcrops. Stock Photo

RM2A51C72–Landscape with a Road to a Castle on an Island in a River, 1554. Hanns Lautensack was born in Bamberg, but fled to Nuremberg with his family in 1527 to escape religious persecution. Although he is referred to as a painter in various documents, no examples survive. He made 16 small landscape etchings in 1553 and 1554. Like Altdorfer and Hirschvogel, Lautensack depicted inhabited, mountainous views reminiscent of the German countryside with details such as huge pine trees with dripping branches, calm rivers, and castles perched on rock outcrops.

Johannes Malderus, 1563 – 1633, was the fifth bishop of Antwerp and the founder of Malderus College at the University of Leuven, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2AP22P4–Johannes Malderus, 1563 – 1633, was the fifth bishop of Antwerp and the founder of Malderus College at the University of Leuven, etching by Bohemian etcher Wenceslaus Hollar from 1600s

Duke Alb in Bruxelles 1568, aquatint / etching by Frederick Oldermann based on a painting by Edouard de Biefve, - 19300101 PD21509 - Rechteinfo: Rights Managed (RM) Stock Photo

RM2X1BPP1–Duke Alb in Bruxelles 1568, aquatint / etching by Frederick Oldermann based on a painting by Edouard de Biefve, - 19300101 PD21509 - Rechteinfo: Rights Managed (RM)

Jonas Umbach, the elder. Italian Landscape with Ruins. 1644–1693. Germany. Etching in black on ivory laid paper The German painter Jonas Umbach was well known in his day and patronized by a major Augsburg bishop. He was also a prolific printmaker, producing some 300 etchings. This work come from a series of Italian landscapes he may have made during a trip to Italy around 1648. Umbach’s magnificent trees and vistas were particularly influenced by 16th-century German landscapes by the Danube School and 17th-century works by the Dutch painter and printmaker Jacob van Ruisdael. Umbach signed his Stock Photo

RM2AHP524–Jonas Umbach, the elder. Italian Landscape with Ruins. 1644–1693. Germany. Etching in black on ivory laid paper The German painter Jonas Umbach was well known in his day and patronized by a major Augsburg bishop. He was also a prolific printmaker, producing some 300 etchings. This work come from a series of Italian landscapes he may have made during a trip to Italy around 1648. Umbach’s magnificent trees and vistas were particularly influenced by 16th-century German landscapes by the Danube School and 17th-century works by the Dutch painter and printmaker Jacob van Ruisdael. Umbach signed his

Anne of Cleves portrait, 1515 – 1557, was Queen of England from 6th January to 9th July 1540 as the fourth wife of King Henry VIII, etching by Bohemian etcher Wenceslaus Hollar from 1648. From Holbein original. Stock Photo

RMRATD87–Anne of Cleves portrait, 1515 – 1557, was Queen of England from 6th January to 9th July 1540 as the fourth wife of King Henry VIII, etching by Bohemian etcher Wenceslaus Hollar from 1648. From Holbein original.

Canto XIV. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J04P5X–Canto XIV. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

Ornamental Ewer in the Shape of a Female Satyr, 1543, Augustin Hirschvogel, German, 1503-1553, 6 7/16 x 3 1/2 in. (16.35 x 8.89 cm) (plate), Etching, Germany, 16th century, These fantastical vessels, one with a serpent handle (P.68.187) and another with furry legs (P.68.188), hint at the innovations to come from the mind of Augustin Hirschvogel. They were made in 1543, about the time Hirschvogel moved to Vienna after working as a glass painter and cartographer in Nuremberg and present-day Yugoslavia. In Vienna, he used the spontaneity of line exhibited in these ornament prints Stock Photo

RM2T91DHE–Ornamental Ewer in the Shape of a Female Satyr, 1543, Augustin Hirschvogel, German, 1503-1553, 6 7/16 x 3 1/2 in. (16.35 x 8.89 cm) (plate), Etching, Germany, 16th century, These fantastical vessels, one with a serpent handle (P.68.187) and another with furry legs (P.68.188), hint at the innovations to come from the mind of Augustin Hirschvogel. They were made in 1543, about the time Hirschvogel moved to Vienna after working as a glass painter and cartographer in Nuremberg and present-day Yugoslavia. In Vienna, he used the spontaneity of line exhibited in these ornament prints

Catherine Howard, Countess of Suffolk, 1564 – 1638, was an English court office holder, she served as lady-in-waiting to the queen consort of England, Anne of Denmark, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2ANT81W–Catherine Howard, Countess of Suffolk, 1564 – 1638, was an English court office holder, she served as lady-in-waiting to the queen consort of England, Anne of Denmark, etching by Bohemian etcher Wenceslaus Hollar from 1600s

Renaissance Medici Pope, Leo X (1474-1521). Engraving created by William Faithorne the Elder (1620 - 1691) for Johan Sleidan's 'History of the Reformation', published in 1689. Stock Photo

RF2BAF832–Renaissance Medici Pope, Leo X (1474-1521). Engraving created by William Faithorne the Elder (1620 - 1691) for Johan Sleidan's 'History of the Reformation', published in 1689.

Francis Bacon portrait, 1st Viscount St Alban, 1561 – 1626, was an English philosopher and statesman, who served as Attorney General, and as Lord Chancellor of England, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RMRB1F43–Francis Bacon portrait, 1st Viscount St Alban, 1561 – 1626, was an English philosopher and statesman, who served as Attorney General, and as Lord Chancellor of England, etching by Bohemian etcher Wenceslaus Hollar from 1600s

Renaissance Medici Pope, Leo X (1474-1521). Square detail of engraving created by William Faithorne the Elder (1620 - 1691) for Johan Sleidan's 'History of the Reformation', published in 1689. Stock Photo

RF2PYB621–Renaissance Medici Pope, Leo X (1474-1521). Square detail of engraving created by William Faithorne the Elder (1620 - 1691) for Johan Sleidan's 'History of the Reformation', published in 1689.

Sir Richard Hutton portrait, 1560 – 1639, was a Yorkshire landowner, and judge, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2A7D8T2–Sir Richard Hutton portrait, 1560 – 1639, was a Yorkshire landowner, and judge, etching by Bohemian etcher Wenceslaus Hollar from 1600s

Anne Boleyn's uncle, the prominent English nobleman and Tudor politician, Thomas Howard, 3rd Duke of Norfolk (1473-1554). Detail of copperplate engraving created in the 1600s by engraver and printmaker Lucas Vorsterman the Elder (1595-1675), after a portrait painted in about 1540 by Hans Holbein the Younger (c. 1498-1543). Thomas Howard was the uncle of both Anne Boleyn and Catherine Howard, the second and fifth wives, respectively, of King Henry VIII of England. Stock Photo

RF2B3T9XX–Anne Boleyn's uncle, the prominent English nobleman and Tudor politician, Thomas Howard, 3rd Duke of Norfolk (1473-1554). Detail of copperplate engraving created in the 1600s by engraver and printmaker Lucas Vorsterman the Elder (1595-1675), after a portrait painted in about 1540 by Hans Holbein the Younger (c. 1498-1543). Thomas Howard was the uncle of both Anne Boleyn and Catherine Howard, the second and fifth wives, respectively, of King Henry VIII of England.

The century illustrated monthly magazine . TheGardeners Daughter, after Emile Adan, andThe Old Librarian, after Jimenez. Special exhibition of high-class American WaterColors during November. Fine Etchings, specially suitable for Holidaypresents. Descriptive Catalogue No. 8 (of modern etch-ings only), with y] illustrations, mailed on receiptof ten cents in stamps. Frederick Keppel & Co.20 East 16th Street, New-York. Unmounted Photographs of Ancient and Modern Worksof Art, embracing reproduc-tions of famous original paint-ings, sculpture, architecture,etc. Price, cabinet size, $1.50per dozen; l Stock Photo

RM2AKTP9D–The century illustrated monthly magazine . TheGardeners Daughter, after Emile Adan, andThe Old Librarian, after Jimenez. Special exhibition of high-class American WaterColors during November. Fine Etchings, specially suitable for Holidaypresents. Descriptive Catalogue No. 8 (of modern etch-ings only), with y] illustrations, mailed on receiptof ten cents in stamps. Frederick Keppel & Co.20 East 16th Street, New-York. Unmounted Photographs of Ancient and Modern Worksof Art, embracing reproduc-tions of famous original paint-ings, sculpture, architecture,etc. Price, cabinet size, $1.50per dozen; l

Queen Elizabeth I of England (1533 - 1603). Square detail of engraving created in the 1700s by Michael van der Gucht (1660-1725), after a portrait by Sir Anthony More (c. 1520 - c. 1576). Stock Photo

RF2PYTPHR–Queen Elizabeth I of England (1533 - 1603). Square detail of engraving created in the 1700s by Michael van der Gucht (1660-1725), after a portrait by Sir Anthony More (c. 1520 - c. 1576).

Recapture of Esztergom 1595, view of the city and the surroundings from the auspice. etching by Wolfgang Meyerpeck, 1595 - 15950101 PD0061 - Rechteinfo: Rights Managed (RM) Stock Photo

RM2X1A8HN–Recapture of Esztergom 1595, view of the city and the surroundings from the auspice. etching by Wolfgang Meyerpeck, 1595 - 15950101 PD0061 - Rechteinfo: Rights Managed (RM)

Agony in the Garden etching by Albrecht Durer circa 1515 German artist 1471 - 1528 Stock Photo

RMDT5RWB–Agony in the Garden etching by Albrecht Durer circa 1515 German artist 1471 - 1528

The Porta Galliera, the entrance gate to Bologna and drawbridge with temporary decorations for the entry of Pope Clement VIII in Bologna in 1598. Artist: Guido Reni (Italian, Bologna 1575-1642 Bologna). Dimensions: Sheet (Trimmed): 8 5/8 × 5 13/16 in. (21.9 × 14.7 cm). Series/Portfolio: Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII. Date: 1598. Plate from 'Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII', a book containing a description of the festivities for Pope Clement VIII's entry to Bologna and eight etchings Stock Photo

RMPAB0R2–The Porta Galliera, the entrance gate to Bologna and drawbridge with temporary decorations for the entry of Pope Clement VIII in Bologna in 1598. Artist: Guido Reni (Italian, Bologna 1575-1642 Bologna). Dimensions: Sheet (Trimmed): 8 5/8 × 5 13/16 in. (21.9 × 14.7 cm). Series/Portfolio: Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII. Date: 1598. Plate from 'Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII', a book containing a description of the festivities for Pope Clement VIII's entry to Bologna and eight etchings

Landscape with Two Pines, 1522-1525. Albrecht Altdorfer's Landscape with Two Pines is from a series of nine etchings produced between 1515 and 1523. While landscape is the sole subject, they do not represent real scenes, but are fantastic in scale and proportion, with relative tree heights approaching 70 feet. Altdorfer lived and worked in Regensburg, a town along the Danube in southern Germany. He was a leader of the so-called "Danube School," a group of German artists characterized by their love of landscape and their ornate linear style. He, and later artists such as Augustin Hi Stock Photo

RM2A51CGP–Landscape with Two Pines, 1522-1525. Albrecht Altdorfer's Landscape with Two Pines is from a series of nine etchings produced between 1515 and 1523. While landscape is the sole subject, they do not represent real scenes, but are fantastic in scale and proportion, with relative tree heights approaching 70 feet. Altdorfer lived and worked in Regensburg, a town along the Danube in southern Germany. He was a leader of the so-called "Danube School," a group of German artists characterized by their love of landscape and their ornate linear style. He, and later artists such as Augustin Hi

RM2AHP522–Jonas Umbach, the elder. Italian Landscape with Ruins. 1644–1693. Germany. Etching in black on ivory laid paper The German painter Jonas Umbach was well known in his day and patronized by a major Augsburg bishop. He was also a prolific printmaker, producing some 300 etchings. This work come from a series of Italian landscapes he may have made during a trip to Italy around 1648. Umbach’s magnificent trees and vistas were particularly influenced by 16th-century German landscapes by the Danube School and 17th-century works by the Dutch painter and printmaker Jacob van Ruisdael. Umbach signed his

Canto II. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J04P61–Canto II. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

Sir Ranulph Crewe portrait, 1558 – 1646, was an English judge and Chief Justice of the King’s Bench, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2A7D8T0–Sir Ranulph Crewe portrait, 1558 – 1646, was an English judge and Chief Justice of the King’s Bench, etching by Bohemian etcher Wenceslaus Hollar from 1600s

The Entrance Hall of the Regensburg Synagogue. Artist: Albrecht Altdorfer (German, Regensburg ca. 1480-1538 Regensburg). Dimensions: Sheet: 6 1/4 × 4 3/8 in. (15.9 × 11.1 cm). Date: 1519. In the muted light of an open doorway and a rosette window, two Jewish men are shown walking through the entry porch of the Regensburg synagogue. Altdorfer made two etchings of the temple just before it was destroyed on February 22, 1519: this view and one of the interior nave. Emperor Maximilian had long been a protector of the Jews in the imperial cities, extracting from them substantial taxes in exchange. Stock Photo

RMPAB48C–The Entrance Hall of the Regensburg Synagogue. Artist: Albrecht Altdorfer (German, Regensburg ca. 1480-1538 Regensburg). Dimensions: Sheet: 6 1/4 × 4 3/8 in. (15.9 × 11.1 cm). Date: 1519. In the muted light of an open doorway and a rosette window, two Jewish men are shown walking through the entry porch of the Regensburg synagogue. Altdorfer made two etchings of the temple just before it was destroyed on February 22, 1519: this view and one of the interior nave. Emperor Maximilian had long been a protector of the Jews in the imperial cities, extracting from them substantial taxes in exchange.

The Triumphal Arch of Maximilian, 1515 (1799 edition). Stock Photo

RM2F9A648–The Triumphal Arch of Maximilian, 1515 (1799 edition).

RM2AHP52M–Jonas Umbach, the elder. Italian Landscape with Ruins. 1644–1693. Germany. Etching in black on ivory laid paper The German painter Jonas Umbach was well known in his day and patronized by a major Augsburg bishop. He was also a prolific printmaker, producing some 300 etchings. This work come from a series of Italian landscapes he may have made during a trip to Italy around 1648. Umbach’s magnificent trees and vistas were particularly influenced by 16th-century German landscapes by the Danube School and 17th-century works by the Dutch painter and printmaker Jacob van Ruisdael. Umbach signed his

Canto VII. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J04P58–Canto VII. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

Sir Benjamin Rudyerd portrait, 1572 – 1658, was an English poet and politician, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2A7D8P2–Sir Benjamin Rudyerd portrait, 1572 – 1658, was an English poet and politician, etching by Bohemian etcher Wenceslaus Hollar from 1600s

Triumphal column with female figure of Fame holding a trumpet at the top, a temporary decoration for the entry of Pope Clement VIII in Bologna in 1598. Artist: Guido Reni (Italian, Bologna 1575-1642 Bologna). Dimensions: Sheet (Trimmed): 8 9/16 × 5 9/16 in. (21.7 × 14.2 cm). Series/Portfolio: Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII. Date: 1598. From 'Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII', a book containing a description of the festivities for Pope Clement VIII's entry to Bologna and eight etchings Stock Photo

RMPB55GX–Triumphal column with female figure of Fame holding a trumpet at the top, a temporary decoration for the entry of Pope Clement VIII in Bologna in 1598. Artist: Guido Reni (Italian, Bologna 1575-1642 Bologna). Dimensions: Sheet (Trimmed): 8 9/16 × 5 9/16 in. (21.7 × 14.2 cm). Series/Portfolio: Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII. Date: 1598. From 'Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII', a book containing a description of the festivities for Pope Clement VIII's entry to Bologna and eight etchings

RM2AHP52B–Jonas Umbach, the elder. Italian Landscape with Ruins. 1644–1693. Germany. Etching in black on ivory laid paper The German painter Jonas Umbach was well known in his day and patronized by a major Augsburg bishop. He was also a prolific printmaker, producing some 300 etchings. This work come from a series of Italian landscapes he may have made during a trip to Italy around 1648. Umbach’s magnificent trees and vistas were particularly influenced by 16th-century German landscapes by the Danube School and 17th-century works by the Dutch painter and printmaker Jacob van Ruisdael. Umbach signed his

The Death of Adonis. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J04PJE–The Death of Adonis. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

The Right Reverend Robert Sanderson portrait, 1587 – 1663, was an English theologian and Bishop of Lincoln, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2A7D8NY–The Right Reverend Robert Sanderson portrait, 1587 – 1663, was an English theologian and Bishop of Lincoln, etching by Bohemian etcher Wenceslaus Hollar from 1600s

Maarten Harpertszoon Tromp portrait, 1598 – 1653, was a Dutch army general and admiral in the Dutch navy, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2A7D8KW–Maarten Harpertszoon Tromp portrait, 1598 – 1653, was a Dutch army general and admiral in the Dutch navy, etching by Bohemian etcher Wenceslaus Hollar from 1600s

Sir Robert Berkeley portrait, 1584 – 1656, was an English judge and politician, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2A7D8T5–Sir Robert Berkeley portrait, 1584 – 1656, was an English judge and politician, etching by Bohemian etcher Wenceslaus Hollar from 1600s

De Architectura, Iacob Androvetti du Cerceau, Opus. Quo descriptae sunct aedificiorum quinquaginta plane dissimilium ichnographiae...; Second Livre D'Architecture, Par Iacques Androuet du Cerceau... Dated: published 1559/1561. Dimensions: page size: 37.4 x 25.3 cm (14 3/4 x 9 15/16 in.) overall size (volume closed): 38.6 x 27 x 3.8 cm (15 3/16 x 10 5/8 x 1 1/2 in.). Medium: 2 works in 1 vol: 1st part: ill: 71 etchings (all full-page, versos blank); 2nd part: ill: 66 etchings (all full-page, versos blank). Museum: National Gallery of Art, Washington DC. Author: Jacques Androuet Ducerceau I (au Stock Photo

RMR2PKR3–De Architectura, Iacob Androvetti du Cerceau, Opus. Quo descriptae sunct aedificiorum quinquaginta plane dissimilium ichnographiae...; Second Livre D'Architecture, Par Iacques Androuet du Cerceau... Dated: published 1559/1561. Dimensions: page size: 37.4 x 25.3 cm (14 3/4 x 9 15/16 in.) overall size (volume closed): 38.6 x 27 x 3.8 cm (15 3/16 x 10 5/8 x 1 1/2 in.). Medium: 2 works in 1 vol: 1st part: ill: 71 etchings (all full-page, versos blank); 2nd part: ill: 66 etchings (all full-page, versos blank). Museum: National Gallery of Art, Washington DC. Author: Jacques Androuet Ducerceau I (au

Alexander Leighton portrait, 1570 – 1649, was a Scottish medical doctor and puritan preacher known for his 1630 pamphlet that attacked the Anglican church and which led to his torture by King Charles I, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2A7D8M5–Alexander Leighton portrait, 1570 – 1649, was a Scottish medical doctor and puritan preacher known for his 1630 pamphlet that attacked the Anglican church and which led to his torture by King Charles I, etching by Bohemian etcher Wenceslaus Hollar from 1600s

RM2AHT1CF–Jonas Umbach, the elder. Italian Landscape with Ruins. 1644–1693. Germany. Etching in black on ivory laid paper The German painter Jonas Umbach was well known in his day and patronized by a major Augsburg bishop. He was also a prolific printmaker, producing some 300 etchings. This work come from a series of Italian landscapes he may have made during a trip to Italy around 1648. Umbach’s magnificent trees and vistas were particularly influenced by 16th-century German landscapes by the Danube School and 17th-century works by the Dutch painter and printmaker Jacob van Ruisdael. Umbach signed his

The Temptation of Eve. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J008HC–The Temptation of Eve. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

[Frames for Mirrors]. Artist: Nicolaes de Bruyn (Netherlandish, Antwerp 1571-1656 Rotterdam). Dimensions: 11 3/8 x 14 3/16 x 1/8 in. (28.9 x 36 x 0.3 cm). Published in: Amsterdam. Publisher: Published by Assuerus van Londerseel (1572-1635). Date: ca. 1600. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPB4N2F–[Frames for Mirrors]. Artist: Nicolaes de Bruyn (Netherlandish, Antwerp 1571-1656 Rotterdam). Dimensions: 11 3/8 x 14 3/16 x 1/8 in. (28.9 x 36 x 0.3 cm). Published in: Amsterdam. Publisher: Published by Assuerus van Londerseel (1572-1635). Date: ca. 1600. Museum: Metropolitan Museum of Art, New York, USA.

William Abell portrait, 1584 - 1655, was an English vintner who became master of the Vintners' Company, as a politician he was an alderman and later sheriff of London, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2A7D8M1–William Abell portrait, 1584 - 1655, was an English vintner who became master of the Vintners' Company, as a politician he was an alderman and later sheriff of London, etching by Bohemian etcher Wenceslaus Hollar from 1600s

Sir Edward Dering portrait, 1st Baronet, 1598–1644, of Surrenden Dering, Pluckley, Kent was an English antiquary and politician, etching by Bohemian etcher Wenceslaus Hollar from 1600s Stock Photo

RM2A7D8P8–Sir Edward Dering portrait, 1st Baronet, 1598–1644, of Surrenden Dering, Pluckley, Kent was an English antiquary and politician, etching by Bohemian etcher Wenceslaus Hollar from 1600s

RM2AHP520–Jonas Umbach, the elder. Italian Landscape with Ruins. 1644–1693. Germany. Etching in black on ivory laid paper The German painter Jonas Umbach was well known in his day and patronized by a major Augsburg bishop. He was also a prolific printmaker, producing some 300 etchings. This work come from a series of Italian landscapes he may have made during a trip to Italy around 1648. Umbach’s magnificent trees and vistas were particularly influenced by 16th-century German landscapes by the Danube School and 17th-century works by the Dutch painter and printmaker Jacob van Ruisdael. Umbach signed his

Amerigo Vespucci portrait, 1454 – 1512, was an Italian-born merchant, explorer, and navigator from the Republic of Florence, from whose name the term 'America' is derived, vintage illustration from the 18th century Stock Photo

RM2E3JETW–Amerigo Vespucci portrait, 1454 – 1512, was an Italian-born merchant, explorer, and navigator from the Republic of Florence, from whose name the term 'America' is derived, vintage illustration from the 18th century

Canto XI. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J04P9R–Canto XI. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

Abraham Lincoln portrait, February 12, 1809 – April 15, 1865, was an American statesman and lawyer who served as the 16th President of the United States from March 1861 until his assassination in April 1865. Lincoln led the United States through the American Civil War. Antique illustration from 1890. Stock Photo

RMPG5T7A–Abraham Lincoln portrait, February 12, 1809 – April 15, 1865, was an American statesman and lawyer who served as the 16th President of the United States from March 1861 until his assassination in April 1865. Lincoln led the United States through the American Civil War. Antique illustration from 1890.

Sebastian Cabot portrait, 1474 – 1557, was a Venetian explorer and cartographer, vintage engraving published in 1869. From an original by Hans Holbein. Stock Photo

RM2E14NT3–Sebastian Cabot portrait, 1474 – 1557, was a Venetian explorer and cartographer, vintage engraving published in 1869. From an original by Hans Holbein.

Sir Peter Paul Rubens 1577 – 1640, was a Flemish artist, antique engraving from circa 1850 Stock Photo

RMM9J1T8–Sir Peter Paul Rubens 1577 – 1640, was a Flemish artist, antique engraving from circa 1850

King Edward VI granting Royal Charter to Bridewell Hospital, vintage engraving from 1750 Stock Photo

RM2PH6NNJ–King Edward VI granting Royal Charter to Bridewell Hospital, vintage engraving from 1750

Franciscus Gomarus portrait, 1563 – 1641, was a Dutch theologian and Calvinist, vintage illustration from 1840 Stock Photo

RM2E1MCJH–Franciscus Gomarus portrait, 1563 – 1641, was a Dutch theologian and Calvinist, vintage illustration from 1840

King Henry VII, 1457 – 1509, was King of England and Lord of Ireland from 1485 until his death in 1509, first monarch of the House of Tudor, antique illustration from circa 1860 Stock Photo

RMMB0C9J–King Henry VII, 1457 – 1509, was King of England and Lord of Ireland from 1485 until his death in 1509, first monarch of the House of Tudor, antique illustration from circa 1860

Triumphal arch surmounted by a statue of Moses, buildings seen through the arch below, a temporary decoration for the entry of Pope Clement VIII in Bologna in 1598. Artist: Guido Reni (Italian, Bologna 1575-1642 Bologna). Dimensions: Sheet (Trimmed): 8 9/16 × 5 11/16 in. (21.8 × 14.4 cm). Series/Portfolio: Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII. Date: 1598. Plate from 'Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII', a book containing a description of the festivities for Pope Clement VIII's entry to Bologn Stock Photo

RMPAA8N4–Triumphal arch surmounted by a statue of Moses, buildings seen through the arch below, a temporary decoration for the entry of Pope Clement VIII in Bologna in 1598. Artist: Guido Reni (Italian, Bologna 1575-1642 Bologna). Dimensions: Sheet (Trimmed): 8 9/16 × 5 11/16 in. (21.8 × 14.4 cm). Series/Portfolio: Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII. Date: 1598. Plate from 'Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII', a book containing a description of the festivities for Pope Clement VIII's entry to Bologn

Philip Melanchthon portrait was a German Lutheran reformer, and collaborator with Martin Luther 1497 – 1560, antique engraving from c1850 Stock Photo

RMM7E0HX–Philip Melanchthon portrait was a German Lutheran reformer, and collaborator with Martin Luther 1497 – 1560, antique engraving from c1850

Burning of Person, Testwood, and Filmer, before Windsor Castle 1543, antique engraving from 1860 Stock Photo

RMM74NNB–Burning of Person, Testwood, and Filmer, before Windsor Castle 1543, antique engraving from 1860

Landschap met vallende Icarus Landscape with falling Icarus Property type: picture album leaf Item number: RP-P-2010-321Catalogusreferentie: Hollstein Dutch 480 Manufacturer : printmaker Johann Sadeler (I) (listed building) Publisher: Johann Sadeler (I) (listed on object) Place manufacture: printmaker: Southern Netherlands Publisher: Antwerp (possible) Date: approx 1570 Material: paper Technique: engra (printing process) Dimensions: sheet: h 140 mm (Inner cut sheet edge) × W 199 mm (Inner cut sheet edge.. ) Note Mounted on 16th-century album leaf with recto two etchings by Etienne Duperac. Sub Stock Photo

RM2B71M0W–Landschap met vallende Icarus Landscape with falling Icarus Property type: picture album leaf Item number: RP-P-2010-321Catalogusreferentie: Hollstein Dutch 480 Manufacturer : printmaker Johann Sadeler (I) (listed building) Publisher: Johann Sadeler (I) (listed on object) Place manufacture: printmaker: Southern Netherlands Publisher: Antwerp (possible) Date: approx 1570 Material: paper Technique: engra (printing process) Dimensions: sheet: h 140 mm (Inner cut sheet edge) × W 199 mm (Inner cut sheet edge.. ) Note Mounted on 16th-century album leaf with recto two etchings by Etienne Duperac. Sub

Canto X. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J04P55–Canto X. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

Triumphal arch covered in foliage with mounted troops below, a temporary decoration for the entry of Pope Clement VIII in Bologna in 1598. Artist: Guido Reni (Italian, Bologna 1575-1642 Bologna). Dimensions: Sheet (Trimmed): 8 7/16 × 5 13/16 in. (21.4 × 14.7 cm). Series/Portfolio: Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII. Date: 1599. Plate from the 1599 edition of 'Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII', a book containing a description of the festivities for Pope Clement VIII's entry to Bologna and Stock Photo

RMPA93HR–Triumphal arch covered in foliage with mounted troops below, a temporary decoration for the entry of Pope Clement VIII in Bologna in 1598. Artist: Guido Reni (Italian, Bologna 1575-1642 Bologna). Dimensions: Sheet (Trimmed): 8 7/16 × 5 13/16 in. (21.4 × 14.7 cm). Series/Portfolio: Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII. Date: 1599. Plate from the 1599 edition of 'Descrittione de gli apparati fatti in Bologna per la venuta di N.S. Papa Clemente VIII', a book containing a description of the festivities for Pope Clement VIII's entry to Bologna and

Queen Elizabeth 1st surrounded by her court, antique engraving from 1860 Stock Photo

RMM74PD6–Queen Elizabeth 1st surrounded by her court, antique engraving from 1860

Suleiman the Magnificent portrait, 1494 – 1566, was the longest-reigning Sultan of the Ottoman Empire from 1520 until his death in 1566, vintage illustration from 1882 Stock Photo

RM2E1MCKW–Suleiman the Magnificent portrait, 1494 – 1566, was the longest-reigning Sultan of the Ottoman Empire from 1520 until his death in 1566, vintage illustration from 1882

Lion Hunt. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching Stock Photo

RM2J02376–Lion Hunt. Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 16th century. Prints; etchings. Etching

Etchings 16th century Stock Photos and Images

Etchings 16th century Stock Photos and Images

Download Confirmation

Password Confirmation

Search Results for Etchings 16th century Stock Photos and Images (213)

Filter by agency collections

Search builder

Get great features with your free account

Get inspired for your next project!