The Morgan Library & Museum in NY has uploaded 500 of Rembrandt’s etchings and engravings for open access, in high resolution. This dates back to the mid-17th century, about 370 years ago.
Some engineering details: Rembrandt started by preparing a copper plate, which he meticulously polished to ensure the surface was smooth and flawless. Using a needle or another sharp tool, Rembrandt created an image by scratching across the surface of the copper plate. These scratches or grooves later held the ink. In some cases, he might use a “soft” engraving technique, where a protective layer consisting of a mixture of wax and resin was applied to the plate, easily removed by the needle. The plate was then immersed in a bath of ferric chloride solution. During etching, the strokes deepened, leaving the areas protected by the lacquer unaffected. After the drawing was completed, the plate was covered with ink. The ink was then wiped off the surface of the plate, remaining only in the engraved grooves. The inked copper plate was then placed on damp paper, and the whole assembly was passed through a press under high pressure. Under this pressure, the ink was transferred from the plate onto the paper, creating the print.
Rembrandt experimented with various engraving techniques, including drypoint (where the image was scratched directly onto the metal, not using acid to deepen the grooves) and aquatint (which allowed for softer tonal transitions). He also played with the ink density and press pressure to achieve different effects in his prints.
Do note that the image was essentially applied in negative. That is, the light strokes against a slightly darker background. Meaning, where lighter parts were needed, strokes should be less frequent, though the strokes themselves are light, requiring one to invert the image in their mind. There’s a good video about this in the comments.
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