Aquatint Collection (page 2)

Collieries, c1805. Pithead scene at a coal mine. At the bottom a horse whim is raising coal from the pit and a man is breaking coal with a pick

Southwark Cavalry. Aquatint by and after Thomas Rowlandson, 1799 (c). From a volume of 86 aquatints entitled ?Loyal Volunteers of London and Environs

Westminster Cavalry. Aquatint by and after Thomas Rowlandson, 1799 (c). From a volume of 86 aquatints entitled ?Loyal Volunteers of London and Environs

First Kings Dragoon Guards.Coloured aquatint by and after William Heath, published by J Watson, Vere Street, Bond Street, London

Goya (1746-1828). Spanish painter and printmaker. Los Capric
Francisco de Goya (1746-1828). Spanish painter and printmaker. Los Caprichos. Donde va mama? (Where are you going mum?). Number 65. Aquatint. 1799. Plate 43. Reproduction by M. Segui i Riera

USS CONSTELLATION, 1799. The American frigate USS Constellation bearing down on the French frigate L Insurgente. Aquatint by Edward Savage, 1799

Bison dance of the Mandan Native Americans in front of their medicine lodge
MANDAN: BISON DANCE, 1844. Bison dance of the Mandan Native Americans in front of their medicine lodge. Aquatint engraving, 1844, after Karl Bodmer

Lanius ludovicianus, loggerhead shrike
Plate 57 from John James Audubons Birds of America, original double elephant folio (1827-30), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Charadrius melodus, piping plover
Plate 220 from John James Audubons Birds of America, original double elephant folio (1834-35), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Toxostoma rufum, brown thrasher
Plate 116 from John James Audubons Birds of America, original double elephant folio (1831-34), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Anas platyrhynchos, mallard
Plate 221 from John James Audubons Birds of America, original double elephant folio (1834-35), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Corvus brachyrhynchos, American crow
Plate 156 from John James Audubons Birds of America, original double elephant folio (1831-34), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Sitta canadensis, red-breasted nuthatch
Plate 105 from John James Audubons Birds of America, original double elephant folio (1831-34), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Sterna antillarum, least tern
Plate 319 from John James Audubons Birds of America, original double elephant folio (1835-38), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Oxyura jamaicensis, ruddy duck
Plate 343 from John James Audubons Birds of America, original double elephant folio (1835-38), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Picoides borealis, red-cockaded woodpecker
Plate 389 from John James Audubons Birds of America, original double elephant folio (1835-38), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

BODMER: BLACKFOOT HORSEMAN. A Blackfoot Native American man riding on horseback at Fort McKenzie, Montana. Aquatint engraving, c1844, after a drawing, 1833, by Karl Bodmer

DANIEL BERNOULLI (1700-1782). Swiss mathematician. Aquatint after a contemporary portrait

Autumn, (etching and aquatint, printed in colours)
1195013 Autumn, (etching and aquatint, printed in colours) by Icart, Louis (1888-1950); 23x17 cm; Private Collection; Photo © Christies Images

Rocky Mountain Plover, 1836. Creator: Robert Havell
Rocky Mountain Plover, 1836

Bear and Elf (Bar und Elfe): pl. 1, published 1881. Creator: Max Klinger
Bear and Elf (Bar und Elfe): pl.1, published 1881

Playing rackets, Fleet Prison, London, c1825. Artist: Theodore Lane
Playing rackets, Fleet Prison, London, c1825

The Driver of 1832 and The Driver of 1852. Artist: J Harris
The Driver of 1832 and The Driver of 1852 ; shows a comparison between a mail coach driver and an engine driver. The phenomenal growth and popularity of the railways between the 1830s

Encampment on Blackheath, Greenwich, London, 1780. Artist: Paul Sandby
View of an army encampment on Blackheath, Greenwich, London, 1780. Showing a windmill on the right and soldiers playing cards with a farmer in front

East India Docks, Poplar, London, 1808. Artist: William Daniell
View of the East India Docks, Poplar, London, looking south towards Isle of Dogs with the River Lea on the left, 1808

Brunswick Dock, and East India Dock, Poplar, London, 1803. Artist: William Daniell
Brunswick Dock, and East India Dock, Poplar, London, 1803. Brunswick and East India Docks looking east with the River Lea in the middle distance and Perrys Masthouse on the right

Portman Square, Marylebone, London, 1813
View of Portman Squares north side, Marylebeone, London, 1813

Brixham, Torbay, Devon, 1825. Artist: William Daniell
Brixham, Torbay, Devon, 1825. From A Voyage Around Great Britain Undertaken between the Years 1814 and 1825 by William Daniell

New Lanark Mills, Scotland, c1815. Robert Owens (1771-1858) model community of cotton mills and housing. Educational facilities were provided, as well as the worlds first day nursery

Gas lighting apparatus at Royal Mint, London, 1819. Artist: Friedrich Accum
Gas lighting apparatus at Royal Mint, London. l: Retort. 2: Purifier. 3: Tar cistern. 4: Gas meter. From Frederick Accum Coal Gas, London, 1819. Aquatint

Entrance to Blisworth Tunnel, Grand Junction Canal, Northamptonshire, 1819. Artist: John Hassell
Entrance to Blisworth Tunnel, Grand Junction Canal, Northamptonshire, 1819. A Boat approaching the entrance to the great tunnel from the Blisworth end

Grand Junction Canal from Stow Hill near Upper Heyford, Northamptonshire, 1819. Artist: John Hassell
Grand Junction Canal from Stow Hill near Upper Heyford, Northamptonshire, 1819. A lime kiln can be seen in the centre of the picture

Horse Guards Blue. Coloured aquatint by and after William Heath, published by J Watson, Vere Street, Bond Street, London, 15 Sep 1820

2644319; out of copyright

2644314; out of copyright

2644313; out of copyright

THE ROYAL PAVILION. Brighton, England. Aquatint, early 19th century

WILLIAM BRADFORD (1755-1795). American lawyer. Aquatint, American, 1857

Midshipman, 1799. The young man is carrying a sextant which was used for making astronomical observations for navigating. Print by Thomas Rowlandson (1756-1827). Aquatint

Vermivora bachmanii, Bachmans warbler
Plate 185 from John James Audubons Birds of America, original double elephant folio (1831-34), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

The Blue Passion-flower, 1799-1807. Creator: Robert John Thornton (British, 1768-1837)
The Blue Passion-flower, 1799-1807. In the 18th century, new engraving and etching techniques offered a variety of tonal effects that enhanced botanical prints

View of John Adam Street, Westminster, London, 1795. On the left is the facade of the Society of Arts building, designed by James and Robert Adam as part of their Adelphi scheme

Coccyzus americanus, yellow-billed cuckoo
Plate 2 from John James Audubons Birds of America, original double elephant folio (1827-30), hand-coloured aquatint. Engraved by W.H. Lizars, Edinburgh, retouched by R. Havell & Son, London

Coccyzus erythropthalmus, black-billed cuckoo
Plate 32 from John James Audubons Birds of America, original double elephant folio (1827-30), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Haliaetus leucocephalus, bald eagle
Plate 31 from John James Audubons Birds of America, original double elephant folio (1827-30), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Parus bicolor, tufted titmouse
Plate 39 from John James Audubons Birds of America, original double elephant folio (1827-30), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Aphelocoma coerulescens, Florida scrub jay
Plate 87 from John James Audubons Birds of America, original double elephant folio (1827-30), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

Fulica americana, American coot
Plate 239 from John James Audubons Birds of America, original double elephant folio (1834-35), hand-coloured aquatint. Engraved, printed and coloured by R. Havell (& Son), London

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Aquatint: Capturing the Essence of Artistic Expression From Edvard Munch's iconic masterpiece "The Kiss" to George Stephenson's groundbreaking locomotive "The Rocket, " aquatint has played a significant role in immortalizing these remarkable creations. This printmaking technique, often combined with drypoint, allows artists to achieve stunning tonal variations and depth in their works. Nicholas Pocock's maritime scenes like "The Speedy and El Gamo" come alive through the intricate lines and delicate shading achieved by aquatint. Similarly, Francisco de Goya's darkly satirical series "Los Caprichos" showcases his mastery of this technique as he delves into the complexities of human nature. In historical depictions such as the Battle of New Orleans or Telford's suspension bridge across Menai Straits, aquatint breathes life into these monumental events. The meticulous detailing captures every nuance, transporting viewers back in time to experience these moments firsthand. Not limited to grand spectacles alone, it also finds its place in capturing everyday beauty. Ambroise Louis Garneray and Frederic Martens' enchanting piece "Peche du Cachalot" portrays the majesty of whale hunting with exquisite precision. Meanwhile, William Daniell transports us to Mevagissey in Cornwall with his evocative depiction from 1825. Even architectural wonders like Christ Church in Spitalfields or Berkeley Square in Mayfair are brought to life through aquatint. The careful etching techniques highlight every intricate detail while maintaining an ethereal quality that adds charm and character to these structures. Whether it is showcasing natural landscapes or man-made marvels like paddle steamers or pelicans soaring above tranquil waters, aquatint continues to captivate art enthusiasts worldwide. Its ability to create rich textures and evoke emotions makes it a timeless medium that stands at the intersection between technical precision and artistic expression.