Burin Collection (page 3)

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

Francisco de Goya (Spanish, 1746-1828). Chiton. (Hush. ), 1796-1797. From Los Caprichos
Francisco de Goya (Spanish, 1746-1828). Chiton. (Hush.), 1796-1797. From Los Caprichos, no. 28. Etching, aquatint, and burin. Plate: 215 mm x 150 mm (8.46 in. x 5.91 in.)

Francisco de Goya, Dos grupos de picadores arrollados de seguida por un solo toro (Two Teams of Picadors Thrown One after the Other by a Single Bull), Spanish, 1746-1828, in or before 1816, etching

Francisco de Goya, Banderillas de fuego (Banderillas with Firecrackers), Spanish, 1746-1828, in or before 1816, etching, burnished aquatint, lavis, drypoint and burin [first edition impression]

Francisco de Goya, El mismo Ceballos montado sobre otro toro quiebra rejones en la plaza de Madrid (The Same Ceballos Mounted on Another Bull Breaks Short Spears in the Ring at Madrid), Spanish

Francisco de Goya, Valor varonil de la celebre Pajuelera en la de Zaragoza (Manly Courage of the Celebrated Pajuelera in the Ring at Saragossa), Spanish, 1746-1828, in or before 1816, etching

Francisco de Goya, Al Conde Palatino (To the Count Palatine), Spanish, 1746-1828, in or before 1799, etching, aquatint, drypoint and burin [working proof]

Francisco de Goya, Fiero monstruo! (Fierce Monster!), Spanish, 1746-1828, 1810-1820, etching, drypoint and burin [trial proof printed posthumously Calcografia in or after 1870]

Rembrandt van Rijn (Dutch, 1606-1669), Faust, c. 1652, etching, drypoint and burin on a heavy white paper

Stone tools, scraper, burin, gimlet, bifacial point, from Late Magdalenian period, France
Prehistory, France, Upper Paleolithic. Stone tools: scraper, burin, gimlet, bifacial point. Late Magdalenian period

CARNICERO, Antonio (1748-1814); SELMA, Fernando (1752-1810). Portrait of Alonso de Ercilla y Zuniga. 1791. Drawing by Antonio Carnicero and burin engraving by Fernando Selma. Etching

VAZQUEZ, Jos頨1768-1804);MAEA, Jos頨1760-1826)
VAZQUEZ, Jos頨 1768-1804); MAEA, Jos頨 1760-1826). Portrait of Benito Jer󮩭 o Feijoo. 1791. Drawing by Jos頍 aea engraved with a burin by Jos頖 ằ uez. Etching

Blow. Plate 69 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Blow. Plate 69 of Los Caprichos, etching, aquatint, drypoint and burin

The Garrotted Man
GOYA Y LUCIENTES, Francisco de (1746-1828). The Garrotted Man. Etching and burin. Etching

STEVENSON, ROBERT LOUIS (1850-1894)
VAZQUEZ, Bartolom (1749-1802); MAEA, Jos (1760-1826). Portrait of Garcilaso de la Vega. Drawing by Jos Maea burin

ENGRAVERs TOOL, c1875. An engravers burin. Line engraving, 19th century

A Corner of Burin Harbour, Newfoundland and Labrador Date: circa 1910s

Collins Cove, Burin, Newfoundland and Labrador Date: circa 1910s

Burin, Newfoundland. Aerial view of the harbour and part of the town with anchored sailing vessels

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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.