Burin Collection (page 2)

Horizontal Panel Row Flowers Frieze Figures Landscape
Artokoloro

Allegorical Subject Nude Woman Three Children
Artokoloro

Self-Portrait Drawing Window 1648 Etching drypoint
Artokoloro

Martyrdom St Lawrence 1571 Engraving Sheet 19 13 / 16 x 13 3 / 4
Artokoloro

Jan Six 1647 Etching drypoint burin Sheet 9 5 / 8
Artokoloro

Plate 62 Los Caprichos thought ? Quien lo creyera
Artokoloro

Rembrandt Raised Sabre 1634 Etching touches burin
Artokoloro

Jan Six 1647 Etching drypoint burin fourth state
Artokoloro

Ephraim Bueno Jewish Physician 1647 Etching drypoint
Artokoloro

Jan Cornelisz Sylvius preacher 1646 Etching drypoint
Artokoloro

Jan Asselijn Painter Krabbetje ca 1646 Etching
Artokoloro

Beggars Receiving Alms Door House 1648 Etching
Artokoloro

Pllate 60 Los Caprichos Trials Ensayos 1799 Etching
Artokoloro

Sleeping Herdsman ca 1644 Etching burin Prints
Artokoloro

Angel Appearing Shepherds 1634 Etching burin
Artokoloro

Remonstrant Preacher Johannes Uytenbogaert 1635
Artokoloro

Abraham Isaac 1645 Etching burin state Plate
Artokoloro

Group of prehistoric people shown making and using primitive tools, including handaxes, burins, flints

Jacques-Philippe Le Bas and Jean Eric Rehn after Jean-Baptiste Oudry (Swedish, 1717-1793), Sanglier (Wild Boar Lying Down, Head to the Left), etching finished with burin

Rembrandt van Rijn, The Angel Appearing to the Shepherds, Dutch, 1606-1669, 1634, etching, burin and drypoint

Francisco de Goya, Y esto tambien (And This Too), Spanish, 1746-1828, published 1863, etching, aquatint or lavis, drypoint, and burin

Rembrandt van Rijn, The Three Trees, Dutch, 1606-1669, 1643, etching, with drypoint and burin, on white paper

Rembrandt van Rijn, Peter and John Healing the Cripple at the Gate of the Temple, Dutch, 1606-1669, 1659, etching, drypoint and burin

Francisco de Goya, Francesco Goya y Lucientes, Pintor, Spanish, 1746-1828, published 1799, etching, aquatint, drypoint, and burin

Francisco de Goya, No se puede saber por que (One Can t Tell Why), Spanish, 1746-1828, published 1863, etching, burnished lavis, drypoint, and burin

Francisco de Goya, Yo lo vi (I Saw It), Spanish, 1746-1828, published 1863, etching, drypoint, and burin

Francisco de Goya, Disparate pobre (Poor Folly), Spanish, 1746 - 1828, in or after 1816, etching, burnished aquatint, drypoint and burin [trial proof printed posthumously circa 1854-1863]

Francisco de Goya, Bobalicon (Simpleton), Spanish, 1746 - 1828, in or after 1816, etching, burnished aquatint, burin and (drypoint?) [trial proof printed posthumously circa 1854-1863]

Francisco de Goya, La desgraciada muerte de Pepe Illo en la plaza de Madrid (The Unlucky Death of Pepe Illo in the Ring at Madrid), Spanish, 1746 - 1828, in or before 1816, etching

Francisco de Goya, Pedro Romero matando a toro parado (Pedro Romero Killing the Halted Bull), Spanish, 1746 - 1828, in or before 1816, etching, aquatint, drypoint and burin [first edition impression]

Francisco de Goya, Pepe Illo haciendo el recorte al toro (Pepe Illo Making the Pass of the " Recorte" ), Spanish, 1746 - 1828, in or before 1816, etching, burnished aquatint

Francisco de Goya, Capean otro encerrado (They Play Another with the Cape in an Enclosure), Spanish, 1746 - 1828, in or before 1816, etching, burnished aquatint

Francisco de Goya, Palenque de los moros hecho con burros para defenderse del toro embolado (The Moors Use Donkeys as a Barrier to Defend Themselves against the Bull Whose Horns have been Tipped with)

Francisco de Goya, Otro modo de cazar a pie (Another Way of Hunting on Foot), Spanish, 1746 - 1828, in or before 1816, etching, burnished aquatint, drypoint and burin [first edition impression]

Francisco de Goya, The Garroted Man, Spanish, 1746 - 1828, in or before 1780, etching and (burin?) on smooth wove paper [second edition impression printed about 1830]

Francisco de Goya, No Hay Quien Los Socorra (Nobody Can Help Them), Spanish, 1746 - 1828, c. 1812, etching and aquatint with burin and burnishing, printed in brown, on laid paper

Francisco de Goya, Esto es lo verdadero (This Is the Truth), Spanish, 1746 - 1828, 1810-1820, etching, aquatint, drypoint

Rembrandt van Rijn (Dutch, 1606 - 1669), Faust, c. 1652, etching, drypoint and burin

William Byron after Rembrandt van Rijn (English, 1669 - 1736), The Three Trees, 18th century, etching, with drypoint and burin

Rembrandt van Rijn, Ephraim Bonus, Dutch, 1606 - 1669, 1647, etching, drypoint and burin

Rembrandt van Rijn, Clement de Jonghe, Dutch, 1606 - 1669, 1651, etching, drypoint and burin

Rembrandt van Rijn, Woman with the Arrow, Dutch, 1606 - 1669, 1661, etching, drypoint and burin

Rembrandt van Rijn, Christ at Emmaus: the Larger Plate, Dutch, 1606 - 1669, 1654, etching, burin and drypoint

Francisco de Goya, A caza de dientes (Out Hunting for Teeth), Spanish, 1746 - 1828, published 1799, etching, burnished aquatint, and burin

Francisco de Goya, No se convienen (They Do Not Agree), Spanish, 1746 - 1828, published 1863, etching, drypoint, burin, and burnisher

The Engraver, published by Hartman Schopper (woodcut) (b / w photo)
XJF137067 The Engraver, published by Hartman Schopper (woodcut) (b/w photo) by German School, (16th century); Private Collection; German, out of copyright

Landscape with ruins of a Roman temple, Esaias van de Velde, 1615 - 1616

Prehistoric stone tools, from the Grotte de Placard, 80000-35000 BC (flint)
XIR208451 Prehistoric stone tools, from the Grotte de Placard, 80000-35000 BC (flint) by Paleolithic; Musee des Antiquites Nationales, St. Germain-en-Laye, France; out of copyright

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The burin, a versatile tool used by artists throughout history, has left its mark on the world of art. From Eric Gill meticulously sculpting and printmaking to Francisco de Goya capturing the power of El celebre Fernando del Toro in his engraving "Barilarguero, obligando a la fiera, " this instrument has been an essential companion for creative minds. Even renowned figures like Erasmus of Rotterdam recognized the value of the burin, as seen in Albrecht Durer's intricate engraving that beautifully portrays him. Its use dates back thousands of years, with tools from the Bromme Culture in 11000 BC showcasing early its craftsmanship. Artists such as Pieter Franciscus Martenasie embraced the burin's potential on canvas, while others like Hendrik Goltzius mastered its precision in engravings. Thomas de Lieu skillfully etched Saint Evagrius Ponticus immersed in his studies using this remarkable tool. Not limited to traditional mediums, even chromolithographs have utilized the burin's capabilities to create stunning prints. Antonio Baratta showcased woodcutting techniques through his engravings "Gravure en Bois" plates I and II from 1771-1779. Intriguingly, L Illustration Nouvelle featured a frontispiece titled "The Burial of the Burin" in 1877—a symbolic representation highlighting both reverence for this timeless tool and perhaps hinting at new artistic horizons yet to be explored. Through centuries and across various artistic disciplines, whether it is tracing lines or creating elaborate illustrations—artists have harnessed the power of the burin to leave their indelible imprint on history's canvas.