Rembrandt Harmenszoon van Rijn
(1606 - 1669)

Rembrandt Harmenszoon van Rijn usually simply known as Rembrandt, was a Dutch Golden Age painter, printmaker and draughtsman. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history.

https://en.wikipedia.org/wiki/Rembrandt

The Three Trees
1643
Etching
21 x 27 cm

TheMET
https://www.metmuseum.org/art/collection/search/354633

 

 

Abraham Bosse
(c. 1604 - 1676)

Abraham Bosse was a French artist, mainly as a printmaker in etching, but also in watercolour.

https://en.wikipedia.org/wiki/Abraham_Bosse

Engravers and etchers at work
1643
Etching
National Gallery of Art
https://www.nga.gov/collection/art-object-page.34677.html

On the left an artist drawing on a copperplate with varnish on the right an artist working with burins (see detail)
Although this may look like an engraving it is an etching.
The text at the bottom describes the difference between the two techniques.
It was Bosse’s aim, in which he largely succeeded, to make etchings look like engravings, to which end he sacrificed willingly the freedom of the etched line, whilst certainly exploiting to the full the speed of the technique. Like most etchers, he frequently used engraving on a plate in addition to etching, but produced no pure engravings.

 Albrecht Dürer
(1471- 1528)

Albrecht Dürer sometimes spelled in English as Durer (without an umlaut) or Duerer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.

https://en.wikipedia.org/wiki/Albrecht_Dürer

Saint Jerome in His Study
1514
Copper Engraving
24.6 x 18.9 cm
The MET
https://www.metmuseum.org/art/collection/search/336229

For an engraving no acid is used. The lines are cut in the metal with a burin.
https://en.wikipedia.org/wiki/Burin_(engraving)
A careful and steady hand is needed: mistakes are almost impossible to correct.

 Sydney Long
(1871 - 1955)

Sydney Long was an Australian artist, born on 20 August 1871 at Ifield, Goulburn, New South Wales.  Long began formal art classes at the New South Wales Art Society in 1890. In 1894 his Heidelberg School-influenced painting, a bathing scene set on the Cooks River By Tranquil Waters (1894) caused a small scandal, but was purchased by the Art Gallery of New South Wales. 

https://en.wikipedia.org/wiki/Sydney_Long

Hawkesbury Landscape
Ca. 1928
Aquatint printed in dark blue ink.
33 x 43 cm
Art Gallery of South Australia.

Another aquatint.
Here the different shades were made by painting with varnish to stop the acid. The lighter parts were covered first, then the next shade and so on.
Here you can also see the number of print in the edition. In the lower left corner you can see 28/60, this means that this is the 28th print of an edition of 60.
After 60 prints the metal plate was changed or destroyed.

Joseph Margulies
(1896 - 1984)

Joseph Margulies (1896–1984) was born in Vienna, Austria in 1896. He immigrated to the United States at an early age. Margulies studied at the Art Students League of New York with the printmaker Joseph Pennell (1857–1926), from 1922 to 1925. Margulies then continued his studies at the National Academy of Design, Cooper Union in New York City, and at the École des Beaux-Arts in Paris. He also apprenticed with Maynard Waltner in Vienna. Margulies died in 1984. 

https://en.wikipedia.org/wiki/Joseph_Margulies_(artist)

Fishing Boats Gloucester
c.1939
Aquatint etching
21 x 29 cm
https://davidbarnettgallery.com/art/fishing-boats-gloucester-by-joseph-margulies

Aquatint is an etching technique where with the help of resin melted on the metal an overall dark tint is etched. The drawing is then made by polishing the metal with a fine tool.

https://en.wikipedia.org/wiki/Aquatint

Francis Seymour Haden
(1818- 1910)
 

Sir Francis Seymour Haden CMG FRCS PPRE (16 September 1818 – 1 June 1910), was an English surgeon, better known as an original etcher who championed original printmaking. He was at the heart of the Etching Revival in Britain, and one of the founders of the Society of Painter-Etchers, now the Royal Society of Painter-Printmakers, as its first president. He was also a collector and scholar of Rembrandt's prints. 

https://en.wikipedia.org/wiki/Francis_Seymour_Haden

Thames Fishermen
1859
Drypoint
69,8 x 99,10 cm
National Gallery of Art
https://www.nga.gov/collection/art-object-page.1077.html

 

Drypoint is a technique in which a drawing is made directly on the metal plate with a needle or sharp object. No acid is used. When the metal is sufficiently polished, even a very light and fine line will be printed.

Such a drypoint can be made on site as a preliminary study for another etching.
 

 

Stow Wengenroth
(1906- 1978)
 

Stow Wengenroth was an American artist and lithographer, born in 1906 in Brooklyn, New York. Wengenroth was once called "America's greatest living artist working in black and white" by the American realist painter Andrew Wyeth, and he is generally considered to be one of the finest American lithographers of the twentieth century. He studied at the Art Students League of New York under George Bridgman and John Fabian Carlson from 1923 to 1927, then at the Grand Central School of Art under Wayman Adams. Wengenroth was elected a member of the National Institute of Arts and Letters (renamed the American Academy of Arts and Letters) in 1942 and was also a member of the Connecticut Academy of Fine Arts and the Prairie Printmakers. He was elected an Associate of the prestigious National Academy of Design in 1938, and a full Academician in 1941. Wengenroth was also the author of several influential books on lithography.

https://en.wikipedia.org/wiki/Stow_Wengenroth

New York Nocturne
1945
Lithograph
25.2 x 43.1 cm
MoMA
https://www.moma.org/collection/works/72978