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Burin Spall, Flint — Burin Spall
ca. 1184–664 B.C.

Plate C: The dogs let loose on the bull, from "Tauromaquia", Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate C: The dogs let loose on the bull, from "Tauromaquia"
Goya (Francisco de Goya y Lucientes)
ca. 1816

Plate 44 from "Los Caprichos": They spin finely (Hilan delgado), Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint, burin — Plate 44 from "Los Caprichos": They spin finely (Hilan delgado)
Goya (Francisco de Goya y Lucientes)
1799

The Supper at Emmaus, Rembrandt (Rembrandt van Rijn) Dutch, Etching, burin and drypoint; first of two states — The Supper at Emmaus
Rembrandt (Rembrandt van Rijn)
1654

Evening in the Village, Jean Jacques de Boissieu French, Etching with drypoint, burin and roulette; third state of three — Evening in the Village
Jean Jacques de Boissieu
1800

River Crossing, Jean Jacques de Boissieu French, Etching with drypoint, burin and roulette; fifth state of five — River Crossing
Jean Jacques de Boissieu
1796

The Old Gate of Vaise, Lyon, Jean Jacques de Boissieu French, Etching with drypoint, burin and roulette; third state of three — The Old Gate of Vaise, Lyon
Jean Jacques de Boissieu
1803

Jan Asselijn, Painter (Krabbetje), Rembrandt (Rembrandt van Rijn) Dutch, Etching, drypoint, and burin (some plate tone); first of seven states — Jan Asselijn, Painter (Krabbetje)
Rembrandt (Rembrandt van Rijn)
ca. 1647

St. Jerome, Jean Jacques de Boissieu French, Etching with drypoint, burin and roulette; fifth state of six — St. Jerome
Jean Jacques de Boissieu
1797

Christ at Emmaus: The Larger Plate, Rembrandt (Rembrandt van Rijn) Dutch, Etching, burin, and drypoint, some hatching with a mezzotint rocker; fourth of four states — Christ at Emmaus: The Larger Plate
Rembrandt (Rembrandt van Rijn)
1654

The Image Seen by Nebuchadnezzar, Rembrandt (Rembrandt van Rijn) Dutch, Etching, burin, and drypoint; third of five states — The Image Seen by Nebuchadnezzar
Rembrandt (Rembrandt van Rijn)
1655

Jacob's Ladder, Rembrandt (Rembrandt van Rijn) Dutch, Etching, burin, and drypoint; first of four states — Jacob's Ladder
Rembrandt (Rembrandt van Rijn)
1655

David and Goliath, Rembrandt (Rembrandt van Rijn) Dutch, Etching, burin, and drypoint, some plate tone; first of five states — David and Goliath
Rembrandt (Rembrandt van Rijn)
1655

Peter and John Healing the Cripple at the Gate of the Temple, Rembrandt (Rembrandt van Rijn) Dutch, Etching, drypoint, burin, and mezzotint; fifth of six states — Peter and John Healing the Cripple at the Gate of the Temple
Rembrandt (Rembrandt van Rijn)
1659

Plate 3 from " La Tauromaquia": The Moors settled in Spain, giving up the superstitions of the Koran, adopted this art of hunting, and spear a bull in the open, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate 3 from " La Tauromaquia": The Moors settled in Spain, giving up the superstitions of the Koran, adopted this art of hunting, and spear a bull in the open
Goya (Francisco de Goya y Lucientes)
1816

Plate 2 from "La Tauromaquia": Another way of hunting on foot, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate 2 from "La Tauromaquia": Another way of hunting on foot
Goya (Francisco de Goya y Lucientes)
1816

Plate 4 from "La Tauromaquia": They play another with the cape in an enclosure, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate 4 from "La Tauromaquia": They play another with the cape in an enclosure
Goya (Francisco de Goya y Lucientes)
1816

Plate 7 from "La Tauromaquia": Origin of the harpoon or banderillas, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin — Plate 7 from "La Tauromaquia": Origin of the harpoon or banderillas
Goya (Francisco de Goya y Lucientes)
1816

Plate 9 from "La Tauromaquia": A Spanish knight kills the bull after having lost his horse, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin — Plate 9 from "La Tauromaquia": A Spanish knight kills the bull after having lost his horse
Goya (Francisco de Goya y Lucientes)
1816

Plate 24 of "La Tauromaquia": The same Ceballos mounted on another bull breaks short spears in the ring at Madrid, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate 24 of "La Tauromaquia": The same Ceballos mounted on another bull breaks short spears in the ring at Madrid
Goya (Francisco de Goya y Lucientes)
1816

Plate 22 from "La Tauromaquia": Manly courage of the celebrated Pajuelera in [the ring] at Zaragoza, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate 22 from "La Tauromaquia": Manly courage of the celebrated Pajuelera in [the ring] at Zaragoza
Goya (Francisco de Goya y Lucientes)
1816

Plate 19 of "La Tauromaquia": Another madness of his in the same ring, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint and burin — Plate 19 of "La Tauromaquia": Another madness of his in the same ring
Goya (Francisco de Goya y Lucientes)
1816

Allegorical Subject: Nude Woman, Three Children and a Mousetrap (La Sourcière), Claude Mellan French, Engraving (burin and drypoint); second state of two (unfinished) — Allegorical Subject: Nude Woman, Three Children and a Mousetrap (La Sourcière)
Claude Mellan

Rembrandt with Raised Sabre, Rembrandt (Rembrandt van Rijn) Dutch, Etching with touches of burin — Rembrandt with Raised Sabre
Rembrandt (Rembrandt van Rijn)
1634

Entrance to the Village of Lentilly, Jean Jacques de Boissieu French, Etching with drypoint, burin and roulette; second state of two — Entrance to the Village of Lentilly
Jean Jacques de Boissieu
1804

Jan Asselijn, Painter (Krabbetje), Rembrandt (Rembrandt van Rijn) Dutch, Etching, drypoint, and burin; second of seven states — Jan Asselijn, Painter (Krabbetje)
Rembrandt (Rembrandt van Rijn)
ca. 1646

Jan Asselijn, Painter (Krabbetje), Rembrandt (Rembrandt van Rijn) Dutch, Etching, drypoint, and burin; fifth state of seven states — Jan Asselijn, Painter (Krabbetje)
Rembrandt (Rembrandt van Rijn)
ca. 1646

Beggars Receiving Alms at the Door of a House, Rembrandt (Rembrandt van Rijn) Dutch, Etching, burin, drypoint; third of five states — Beggars Receiving Alms at the Door of a House
Rembrandt (Rembrandt van Rijn)
1648

Plate 1 from "Los Caprichos": Self-portrait, Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint and burin — Plate 1 from "Los Caprichos": Self-portrait
Goya (Francisco de Goya y Lucientes)
1799 (published 1881–86)

Plate 17 of "La Tauromaquia": The Moors use donkeys as a barrier to defend themselves against the bull whose horns have been tipped with balls, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate 17 of "La Tauromaquia": The Moors use donkeys as a barrier to defend themselves against the bull whose horns have been tipped with balls
Goya (Francisco de Goya y Lucientes)
1816

Plate 16 of "La Tauromaquia": The same man throws a bull in the ring at Madrid, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate 16 of "La Tauromaquia": The same man throws a bull in the ring at Madrid
Goya (Francisco de Goya y Lucientes)
1816

Plate 13 of "La Tauromaquia": A Spanish mounted knight in the ring breaking short spears without the help of assistants, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate 13 of "La Tauromaquia": A Spanish mounted knight in the ring breaking short spears without the help of assistants
Goya (Francisco de Goya y Lucientes)
1816

Plate 32 from "La Tauromaquia": Two teams of picadors thrown one after the other by a single bull, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate 32 from "La Tauromaquia": Two teams of picadors thrown one after the other by a single bull
Goya (Francisco de Goya y Lucientes)
1816

Plate 31 of "La Tauromaquia": Banderillas with firecrackers, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, drypoint, burin — Plate 31 of "La Tauromaquia": Banderillas with firecrackers
Goya (Francisco de Goya y Lucientes)
1816

Plate 30 from "La Tauromaquia": Pedro Romero killing the halted bull, Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin — Plate 30 from "La Tauromaquia": Pedro Romero killing the halted bull
Goya (Francisco de Goya y Lucientes)
1816

Plate 15: Pretty Advice (Bellos Consejos), from "Los Caprichos", Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, burin, touches of pen and ink — Plate 15: Pretty Advice (Bellos Consejos), from "Los Caprichos"
Goya (Francisco de Goya y Lucientes)
1799

Plate18 from "The Disasters of War" (Los Desastres de la Guerra): 'Bury them and keep quiet' (Enterrar y callar), Goya (Francisco de Goya y Lucientes) Spanish, Etching, drypoint, burin (working proof) — Plate18 from "The Disasters of War" (Los Desastres de la Guerra): 'Bury them and keep quiet' (Enterrar y callar)
Goya (Francisco de Goya y Lucientes)
1810

Self-Portrait; Plate 1 from "Los Caprichos", Goya (Francisco de Goya y Lucientes) Spanish, Etching, aquatint, drypoint, burin — Self-Portrait; Plate 1 from "Los Caprichos"
Goya (Francisco de Goya y Lucientes)
1799

The garroted man (El agarrotado), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burin — The garroted man (El agarrotado)
Goya (Francisco de Goya y Lucientes)
ca. 1775–78 (published 1868)

Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out.' (No hay que dar voces.), Goya (Francisco de Goya y Lucientes) Spanish, Etching, burnished aquatint, burin, burnisher (proof impression) — Plate 58 from 'The Disasters of War' (Los Desastres de la Guerra): 'It's no use crying out.' (No hay que dar voces.)
Goya (Francisco de Goya y Lucientes)
1811–12