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Aquatint
1835 aquatint showing the first production of I puritani. Note range of tones.
1835 aquatint showing the first production of I puritani. Note range of tones.
Demonstration sections of printed aquatint, magnified.
Demonstration sections of printed aquatint, magnified.
Goya, No. 32 of Los Caprichos (1799, Por que fue sensible). This is a fairly rare example of a Goya print entirely in aquatint.
Goya, No. 32 of Los Caprichos (1799, Por que fue sensible). This is a fairly rare example of a Goya print entirely in aquatint.
Philibert-Louis Debucourt, The Public Promenade, 1792. Printed in colour from various plates, using etching, engraving, and aquatint. One of the leadi
Philibert-Louis Debucourt, The Public Promenade, 1792. Printed in colour from various plates, using etching, engraving, and aquatint. One of the leading achievements of the French 18th-century colour-print.
Saint Agnes, mezzotint by John Smith after Godfrey Kneller, usually thought to be a portrait of Kneller's daughter, Catherine Voss
Saint Agnes, mezzotint by John Smith after Godfrey Kneller, usually thought to be a portrait of Kneller's daughter, Catherine Voss
Ludwig von Siegen, Countess Amalie Elisabeth of Hanau-Münzenberg, 1642, is the first known mezzotint, using the light to dark method.
Ludwig von Siegen, Countess Amalie Elisabeth of Hanau-Münzenberg, 1642, is the first known mezzotint, using the light to dark method.
Early mezzotint by Wallerant Vaillant, Siegen's assistant or tutor. Young man reading, with statue of Cupid. Probably made using light to dark techniq
Early mezzotint by Wallerant Vaillant, Siegen's assistant or tutor. Young man reading, with statue of Cupid. Probably made using light to dark technique. 27.5 cm × 21.3 cm (10+13⁄16 in × 8+3⁄8 in)
Four-colour mezzotint of Louis XV by Jacob Christoph Le Blon, 1739
Four-colour mezzotint of Louis XV by Jacob Christoph Le Blon, 1739