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| Christoph Weigel Wilhelmine Amalie, Holy Roman Empress ca. 1710 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Christoph Weigel after Giovanni Lanfranco St Peter ca. 1690 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Christoph Weigel after Giovanni Lanfranco St Paul ca. 1690 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Ludwig Sommerau Portrait of a Young Man ca. 1775-85 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Johann Matthias Schuster after Antoine Pesne Portrait of Augustin Dubuisson 1755 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Johann Elias Ridinger The Clavichord induces Devotion and Desire ca. 1740 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Elias Nessenthaler Pietà ca. 1695 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Elias Nessenthaler Archangel Gabriel ca. 1695 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Andreas Löscher Allegory of Winter ca. 1740 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Johann Kenckel after Johann Martin Schuster Foreshortened Figure in Clouds ca. 1710-20 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Johann Kenckel after Johann Martin Schuster Draped Figure mounting Stairs ca. 1710-20 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Johann Kenckel after Johann Martin Schuster Draped Figure Kneeling ca. 1710-20 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Johann Kenckel after Johann Martin Schuster Académie ca. 1710-20 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Theodor Caspar von Fürstenberg Salome with the Head of John the Baptist ca. 1656 mezzotint Herzog Anton Ulrich Museum, Braunschweig |
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| Franz August Börner Portrait of artist Hans Thoma ca. 1910 mezzotint Kupferstichkabinett, Staatliche Museen zu Berlin |
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| Samuel Blesendorf Dorothea Sophie, Electress of Brandenburg ca. 1670 mezzotint and engraving Herzog Anton Ulrich Museum, Braunschweig |
Mezzotint – A special type of intaglio print, invented in the 17th century but widely practised in the 18th, notably for the reproduction of paintings. The technique is especially suitable to this end, because it facilitates the controlled engraving of tone rather than of line, as in traditional copper engraving with the use of a burin. A toothed chisel –the 'rocker' – is held upright and pushed while being rocked back and forth with its edge pressing on the metal plate. This makes it possible to lay an even, close mesh of burred pits all over the surface of the plates. Tints are then scraped or burnished into this to produce an even tone. Sharp edges can be pointed up by engraving or etching lines.
– Erika Langmuir and Norbert Lynton, The Yale Dictionary of Art and Artists (2000)