In the second half of the 17th century, English prints began to emerge with their own achievements. Before that, Germans and Dutch artists such as Frans Hogenberg, Crispijn de Passe, Philipp Galle, the Frenchman Robert Boissard and Wenceslaus Hollar from Prague were active in England. Their works are represented in the collections of the Albertina, as well as prints by William Faithorne, one of the first great portrait engravers, who also set up his own business as a publisher of his own and other artist's plates.

In the first half of the 18th century, engravers such as Robert Strange and William Woollet emerged. They are represented in Albertina's collections with prints after paintings by prominent Italian masters and with English park views and landscapes. The history-genre in 19th century printmaking is represented by works by James Heath, among others, in Albertina’s historical volumes.

A special focus in English printmaking is the so-called “English manner” (mezzotint) – it can be regarded as the most sophisticated new development among the pictorial media of the pre-modern period. The technique, invented in 1642/43, is characterized by its painterly effect and was particularly suitable for transferring paintings into prints. The Albertina keeps mezzotints by various English engravers in its collections.

Furthermore, the colour engravings by William Wynne Ryland and Joseph Grozer can be cited as a special technical feature of the English School.