Afbeelding van het Glorierijk tijdstip van den Veldslag bij Waterloo op den XVIIIden van Zomermaand MDCCCXV, waar op aan den Hertog van Wellington opperbevelhebber, door eenige Schotten de op het Fransche Leger veroverde Adelaars worden aangeboden / Tableau Réprésentant le mont de la Glorieuse Bataille de Waterloo (...) Possibly 1819

This print, made by Philippus Velijn, depicts the Battle of Waterloo, which took place in 1815. It’s made using etching and engraving, two intaglio printmaking techniques. This means the image is incised into a metal plate, ink is applied, and then the surface is wiped clean, leaving ink only in the etched or engraved lines. The plate is then pressed onto paper, transferring the image. Notice the incredible detail achieved through these processes. The fine lines create a sense of depth and texture, from the smoke of battle in the background to the figures presenting captured standards to the Duke of Wellington. Printmaking, in its essence, is a reproductive medium. It is suited to the dissemination of political narratives, like this celebration of military victory. Consider the labour involved. While Velijn was a skilled artist, the production of multiple prints would have been a collaborative effort, involving workshops and the division of labour. This print, therefore, isn’t just an image of a historical event, but also a product of its time, reflecting the social and economic structures of early 19th-century Europe. It invites us to think about how materials, making, and context intertwine to shape our understanding of art and its role in society.