Mezzotint off white laid paper hi-res stock photography and images

Art inspired by Study of a Seated Woman, 1778–1810, Black and white chalks on off-white laid paper, Sheet: 10 5/8 × 8 15/16 in. (27 × 22.7 cm), Drawings, John Hoppner (British, London 1758–1810 London), After Sir Joshua Reynolds retired in 1789, Hoppner became the leading portraitist, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photo

RF2HTXD93–Art inspired by Study of a Seated Woman, 1778–1810, Black and white chalks on off-white laid paper, Sheet: 10 5/8 × 8 15/16 in. (27 × 22.7 cm), Drawings, John Hoppner (British, London 1758–1810 London), After Sir Joshua Reynolds retired in 1789, Hoppner became the leading portraitist, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

Miravan, 1772, Valentine Green (English, 1739-1813), after Joseph Wright of Derby (English, 1734-1797), England, Mezzotint on off-white laid paper, 460 × 354 mm (image), 505 × 355 mm (plate), 669 × 525 mm (sheet Stock Photo

RM2A2KFAA–Miravan, 1772, Valentine Green (English, 1739-1813), after Joseph Wright of Derby (English, 1734-1797), England, Mezzotint on off-white laid paper, 460 × 354 mm (image), 505 × 355 mm (plate), 669 × 525 mm (sheet

The New Fashion Phaeton. Attributed to Philip Dawe; English, 1750-1785. Date: 1776. Dimensions: 352 × 252 mm (plate); 470 × 299 mm (sheet). Mezzotint with touches of engraving in black on off-white laid paper. Origin: England. Museum: The Chicago Art Institute. Stock Photo

RMRXHHEB–The New Fashion Phaeton. Attributed to Philip Dawe; English, 1750-1785. Date: 1776. Dimensions: 352 × 252 mm (plate); 470 × 299 mm (sheet). Mezzotint with touches of engraving in black on off-white laid paper. Origin: England. Museum: The Chicago Art Institute.

Thomas Frye. Portrait of a Young Man, Looking to the Left (Self-Portrait), from Life-Sized Heads. 1760. Ireland. Mezzotint in black on off-white laid paper Stock Photo

RM2AHP299–Thomas Frye. Portrait of a Young Man, Looking to the Left (Self-Portrait), from Life-Sized Heads. 1760. Ireland. Mezzotint in black on off-white laid paper

Print, The Little Executioner, illustration to John Evelyn, 'Sculptura'; Print Maker: Prince Rupert (German, 1619 – 1682); After Jusepe de Ribera (Spanish, active Italy, 1591 – 1652); Germany; mezzotint on off-white laid paper Stock Photo

RM2PMCF5M–Print, The Little Executioner, illustration to John Evelyn, 'Sculptura'; Print Maker: Prince Rupert (German, 1619 – 1682); After Jusepe de Ribera (Spanish, active Italy, 1591 – 1652); Germany; mezzotint on off-white laid paper

RF2B9006T–Miravan, 1772, Valentine Green (English, 1739-1813), after Joseph Wright of Derby (English, 1734-1797), England, Mezzotint on off-white laid paper, 460 × 354 mm (image), 505 × 355 mm (plate), 669 × 525 mm (sheet), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

Portrait of a Young Man, Looking to the Left (Self-Portrait), from Life-Sized Heads, 1760. Stock Photo

RM2HT8NEH–Portrait of a Young Man, Looking to the Left (Self-Portrait), from Life-Sized Heads, 1760.

The New Fashion Phaeton, February 22, 1776, Attributed to Philip Dawe, English, 1750-1785, England, Mezzotint with touches of engraving in black on off-white laid paper, 352 × 252 mm (plate), 470 × 299 mm (sheet Stock Photo

RM2A2KHJN–The New Fashion Phaeton, February 22, 1776, Attributed to Philip Dawe, English, 1750-1785, England, Mezzotint with touches of engraving in black on off-white laid paper, 352 × 252 mm (plate), 470 × 299 mm (sheet

Portrait of a Young Man, Looking to the Left (Self-Portrait), from Life-Sized Heads. Thomas Frye; Irish, 1710-1762. Date: 1760. Dimensions: 502 x 365 mm (plate); 544 x 395 mm (sheet). Mezzotint in black on off-white laid paper. Origin: Ireland. Museum: The Chicago Art Institute. Stock Photo

RMRXHYB4–Portrait of a Young Man, Looking to the Left (Self-Portrait), from Life-Sized Heads. Thomas Frye; Irish, 1710-1762. Date: 1760. Dimensions: 502 x 365 mm (plate); 544 x 395 mm (sheet). Mezzotint in black on off-white laid paper. Origin: Ireland. Museum: The Chicago Art Institute.

RM2AHP2EY–Charles Balthazar Julien Fevret de Saint-Mémin. Profile Portrait, Blake. 1796–1797. France. Mezzotint and engraving, with stipple, on ivory wove chine, laid down on off-white wove paper (chine collé)

RF2B90476–The New Fashion Phaeton, February 22, 1776, Attributed to Philip Dawe, English, 1750-1785, England, Mezzotint with touches of engraving in black on off-white laid paper, 352 × 252 mm (plate), 470 × 299 mm (sheet), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

RM2HT86W0–Miravan, 1772.

RM2A2KG8H–Profile Portrait, Blake, 1796–97, Charles Balthazar Julien Fevret de Saint-Mémin, French, 1770-1852, France, Mezzotint and engraving, with stipple, on ivory wove chine, laid down on off-white wove paper (chine collé), 55 × 56 mm (image), 67 × 63 mm (primary support), 206 × 148 mm (secondary support

Three Persons Viewing the Gladiator by Candlelight. William Pether (English, 1731/38-1821); after Joseph Wright of Derby (English, 1734-1797). Date: 1769. Dimensions: 482 × 555 mm (image/plate); 489 × 565 mm (sheet). Mezzotint in black on off-white laid paper. Origin: England. Museum: The Chicago Art Institute. Stock Photo

RMRXHG6R–Three Persons Viewing the Gladiator by Candlelight. William Pether (English, 1731/38-1821); after Joseph Wright of Derby (English, 1734-1797). Date: 1769. Dimensions: 482 × 555 mm (image/plate); 489 × 565 mm (sheet). Mezzotint in black on off-white laid paper. Origin: England. Museum: The Chicago Art Institute.

RM2DMC5XX–The Little Executioner, illustration to John Evelyn, 'Sculptura', Prince Rupert of the Rhine, Bohemian, 1619 - 1682, Jusepe de Ribera, Spanish, active Italy, 1591 – 1652, Mezzotint on off-white laid paper, Profile of a bearded male figure, looking right, wearing a turban. This is the first mezzoprint published in England, a smaller version of a 1658 print by Prince Rupert of the Rhine, and after a painting once thought to be by Jose de Ribera., Germany, 1662, ephemera, Print

Valentine Green. Miravan. 1772. England. Mezzotint on off-white laid paper Being relatively cheap and widely available, prints reproducing Joseph Wright of Derby’s paintings were largely responsible for establishing his reputation. Valentine Green’s mezzotint captures the drama and exoticism of Wright’s painting of the story of Miravan, a young nobleman who raided the tomb of his ancestor looking for treasure, only to find an inscription rebuking him for his greed and for disturbing the eternal rest of the dead. The rich blacks and bright highlights of the mezzotint technique were ideally suit Stock Photo

RM2AHP09C–Valentine Green. Miravan. 1772. England. Mezzotint on off-white laid paper Being relatively cheap and widely available, prints reproducing Joseph Wright of Derby’s paintings were largely responsible for establishing his reputation. Valentine Green’s mezzotint captures the drama and exoticism of Wright’s painting of the story of Miravan, a young nobleman who raided the tomb of his ancestor looking for treasure, only to find an inscription rebuking him for his greed and for disturbing the eternal rest of the dead. The rich blacks and bright highlights of the mezzotint technique were ideally suit

Three Persons Viewing the Gladiator by Candlelight, 1769, William Pether (English, 1731/38-1821), after Joseph Wright of Derby (English, 1734-1797), England, Mezzotint in black on off-white laid paper, 482 × 555 mm (image/plate), 489 × 565 mm (sheet Stock Photo

RM2A2KJDF–Three Persons Viewing the Gladiator by Candlelight, 1769, William Pether (English, 1731/38-1821), after Joseph Wright of Derby (English, 1734-1797), England, Mezzotint in black on off-white laid paper, 482 × 555 mm (image/plate), 489 × 565 mm (sheet

RF2B901H9–Profile Portrait, Blake, 1796–97, Charles Balthazar Julien Fevret de Saint-Mémin, French, 1770-1852, France, Mezzotint and engraving, with stipple, on ivory wove chine, laid down on off-white wove paper (chine collé), 55 × 56 mm (image), 67 × 63 mm (primary support), 206 × 148 mm (secondary support), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

Three Persons Viewing the Gladiator by Candlelight, 1769. Stock Photo

RM2HT87A8–Three Persons Viewing the Gladiator by Candlelight, 1769.

RMRXHDT1–Profile Portrait, Blake. Charles Balthazar Julien Fevret de Saint-Mémin; French, 1770-1852. Date: 1796-1797. Dimensions: 55 × 56 mm (image); 67 × 63 mm (primary support); 206 × 148 mm (secondary support). Mezzotint and engraving, with stipple, on ivory wove chine, laid down on off-white wove paper (chine collé). Origin: France. Museum: The Chicago Art Institute.

Thomas Robert Way. Arrangement in Grey and Black Portrait of the Artist's Mother, after Whistler. 1892. England. Lithograph in black on ivory Japanese paper, laid down on off-white wove paper (chine collé) Together with his father (also named Thomas Way), T. R. Way oversaw the printing of most of Whistler’s lithographs, which often involved the direct participation of Whistler himself. The Ways were champions of lithography and sought to have it recognized as an art form, not just as an affordable means of reproducing images. Unlike etching and mezzotint, both of which are intaglio processes r Stock Photo

RM2AHRF4P–Thomas Robert Way. Arrangement in Grey and Black Portrait of the Artist's Mother, after Whistler. 1892. England. Lithograph in black on ivory Japanese paper, laid down on off-white wove paper (chine collé) Together with his father (also named Thomas Way), T. R. Way oversaw the printing of most of Whistler’s lithographs, which often involved the direct participation of Whistler himself. The Ways were champions of lithography and sought to have it recognized as an art form, not just as an affordable means of reproducing images. Unlike etching and mezzotint, both of which are intaglio processes r

Portrait of a Young Man, Looking to the Left (Self-Portrait), from Life-Sized Heads, 1760, Thomas Frye, Irish, 1710-1762, Ireland, Mezzotint in black on off-white laid paper, 502 x 365 mm (plate), 544 x 395 mm (sheet), Ceremonial Leeboard or Digging Stick with Figures and Geometic Birds and Figures, A.D. 1400/1532, Inca or Ica, South coast, Peru, Peru, Wood with pigment, L. 182 cm (5 feet 9 in.), Ceremonial Leeboard or Digging Stick with Figures and Geometic Birds and Figures, A.D. 1400/1532, Inca or Inca, South coast, Peru, Peru, Wood with Pigment, L. 39 cm (8 1/4 feet Stock Photo

RM2A2KGNB–Portrait of a Young Man, Looking to the Left (Self-Portrait), from Life-Sized Heads, 1760, Thomas Frye, Irish, 1710-1762, Ireland, Mezzotint in black on off-white laid paper, 502 x 365 mm (plate), 544 x 395 mm (sheet), Ceremonial Leeboard or Digging Stick with Figures and Geometic Birds and Figures, A.D. 1400/1532, Inca or Ica, South coast, Peru, Peru, Wood with pigment, L. 182 cm (5 feet 9 in.), Ceremonial Leeboard or Digging Stick with Figures and Geometic Birds and Figures, A.D. 1400/1532, Inca or Inca, South coast, Peru, Peru, Wood with Pigment, L. 39 cm (8 1/4 feet

RF2B905FT–Three Persons Viewing the Gladiator by Candlelight, 1769, William Pether (English, 1731/38-1821), after Joseph Wright of Derby (English, 1734-1797), England, Mezzotint in black on off-white laid paper, 482 × 555 mm (image/plate), 489 × 565 mm (sheet), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.

Study of a Seated Woman, 1778–1810, Black and white chalks on off-white laid paper, Sheet: 10 5/8 × 8 15/16 in. (27 × 22.7 cm Stock Photo

RMKC8PH2–Study of a Seated Woman, 1778–1810, Black and white chalks on off-white laid paper, Sheet: 10 5/8 × 8 15/16 in. (27 × 22.7 cm

The New Fashion Phaeton, February 22, 1776. 'Sic Itur ad Astra', (Thus one goes to the stars). Attributed to Philip Dawe. Stock Photo

RM2MBBB21–The New Fashion Phaeton, February 22, 1776. 'Sic Itur ad Astra', (Thus one goes to the stars). Attributed to Philip Dawe.

John Raphael Smith (British (English), 1751 - 1812) after George Morland (British (English), 1763 - 1804). Slave Trade, 1791 Stock Photo

RMEDPCGJ–John Raphael Smith (British (English), 1751 - 1812) after George Morland (British (English), 1763 - 1804). Slave Trade, 1791

Study of a Seated Woman. Artist: John Hoppner (British, London 1758-1810 London). Dimensions: Sheet: 10 5/8 × 8 15/16 in. (27 × 22.7 cm). Date: 1778-1810. After Sir Joshua Reynolds retired in 1789, Hoppner became the leading portraitist active in London. In the early decades of his career, he designed literary and dramatic subjects; this drawing relates to a mezzotint entitled Clara at the Tomb of Eloisa (1786). The theme comes from Jean-Jacques Rousseau's popular novel Julie; ou, La Nouvelle Héloïse, in which the heroine, Héloïse (Eloisa, in English), is separated from her great love, Saint- Stock Photo

RMPAJ97F–Study of a Seated Woman. Artist: John Hoppner (British, London 1758-1810 London). Dimensions: Sheet: 10 5/8 × 8 15/16 in. (27 × 22.7 cm). Date: 1778-1810. After Sir Joshua Reynolds retired in 1789, Hoppner became the leading portraitist active in London. In the early decades of his career, he designed literary and dramatic subjects; this drawing relates to a mezzotint entitled Clara at the Tomb of Eloisa (1786). The theme comes from Jean-Jacques Rousseau's popular novel Julie; ou, La Nouvelle Héloïse, in which the heroine, Héloïse (Eloisa, in English), is separated from her great love, Saint-

Philip Dawe. The New Fashion Phaeton. 1776. England. Mezzotint with touches of engraving in black on off-white laid paper Devoting less effort to the fabric textures and pearly luster of high-society mezzotint portraits, publishers also mocked sartorial excesses, especially those with foreign sources. In 1770s London, the epithet macaroni was directed at dandyish men and overdressed women who adopted an outrageous, European style and acted in an affected manners that their genders were said to become indistinguishable. Such costumes evidently even made leaving home difficult. This print’s subt Stock Photo

RM2AHP8D0–Philip Dawe. The New Fashion Phaeton. 1776. England. Mezzotint with touches of engraving in black on off-white laid paper Devoting less effort to the fabric textures and pearly luster of high-society mezzotint portraits, publishers also mocked sartorial excesses, especially those with foreign sources. In 1770s London, the epithet macaroni was directed at dandyish men and overdressed women who adopted an outrageous, European style and acted in an affected manners that their genders were said to become indistinguishable. Such costumes evidently even made leaving home difficult. This print’s subt

RF2B902H6–Portrait of a Young Man, Looking to the Left (Self-Portrait), from Life-Sized Heads, 1760, Thomas Frye, Irish, 1710-1762, Ireland, Mezzotint in black on off-white laid paper, 502 x 365 mm (plate), 544 x 395 mm (sheet), Ceremonial Leeboard or Digging Stick with Figures and Geometic Birds and Figures, A.D. 1400/1532, Inca or Ica, South coast, Peru, Peru, Wood with pigment, L. 182 cm (5 feet 9 in.), Ceremonial Leeboard or Digging Stick with Figures and Geometic Birds and Figures, A.D. 1400/1532, Inca or Inca, South coast, Peru, Peru, Wood with Pigment, L. 39 cm (8 1/4 feet), Reimagined by Gibon,

RM2J3MYEH–Profile Portrait, Blake, 1796–97.

John Raphael Smith (British (English), 1751 - 1812) after George Morland (British (English), 1763 - 1804). African Hospitality Stock Photo

RMEDPCGK–John Raphael Smith (British (English), 1751 - 1812) after George Morland (British (English), 1763 - 1804). African Hospitality

William Pether. Three Persons Viewing the Gladiator by Candlelight. 1769. England. Mezzotint in black on off-white laid paper Before Valentine Green and Richard Earlom, William Pether created major mezzotints from several of the 14 paintings Joseph Wright of Derby exhibited in London between 1765 and 1772. Many of these were “candlelight pictures,” a genre exceedingly well suited to mezzotint tones. Yet Pether waited for a successful review of the 1766 painting for A Philosopher Giving a Lecture on the Orrery before he began the laborious mezzotint process, completing it only in 1768. The prin Stock Photo

RM2AHPCN8–William Pether. Three Persons Viewing the Gladiator by Candlelight. 1769. England. Mezzotint in black on off-white laid paper Before Valentine Green and Richard Earlom, William Pether created major mezzotints from several of the 14 paintings Joseph Wright of Derby exhibited in London between 1765 and 1772. Many of these were “candlelight pictures,” a genre exceedingly well suited to mezzotint tones. Yet Pether waited for a successful review of the 1766 painting for A Philosopher Giving a Lecture on the Orrery before he began the laborious mezzotint process, completing it only in 1768. The prin

Mezzotint off white laid paper Stock Photos and Images

Mezzotint off white laid paper Stock Photos and Images

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