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Pumpe (37), Manually Operated Pump for Well, Copper Engraving, Fig. XXXVII, p. 57, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore, 1588

Joseph H. Seymour, American, 1791 - 1822, John Hancock, 1794, engraving printed in black ink, Image: 6 1/4 × 5 3/8 inches (15.9 × 13.7 cm

Mobile Brückenkonstruktion (6), Mobile Bridge Construction, Copper Engraving, Fig. CXLV, p. 236, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore, 1588

Thomas Burke, English, 1749-1815, after Angelica Kauffmann, Swiss, 1741-1807, Cupid Disarm'd by Euphrosine, between 1749 and 1815, engraving printed in color ink on chine collé, Plate: 13 1/8 × 14 1/2 inches (33.3 × 36.8 cm

Serpentes, Parallel Title: Serpents, Signed: J. G. Pintz sculps, Copper Engraving, Plate DCLX, Füssli, Johann Melchior; Pinz, Johann Georg (sculps.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel (...). Augspurg und Ulm: gedruckt bey

Iris litea variegata Lobely, Iris latifolia decima Clusii, Pseudo Iris palustris, Shardlily, copperplate engraving, p. 272, Besler, Basilius; Jungermann, Ludwig, 1713, Basilius Besler: Hortus Eystettensis (...). Nürnberg, 1713

Israhel van Meckenem, German, 1450-1503, after Martin Schongauer, German, 1450-1491, Virgin and Child in a Court Yard, between 1450 and 1503, engraving printed in black ink on laid paper, Sheet (trimmed within plate mark): 5 3/8 × 4 1/8

Orion ..., Parallel title: The Orion, Signed: J. G. Pintz sculps, copperplate engraving, plate DXXXI, Füssli, Johann Melchior; Pinz, Johann Georg (sculps.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel (...). Augspurg und Ulm: gedruckt bey

Keeping the union Bison, Parallel title: A faithful female compared to a hind, Signed: M. Tyroff sculps, copperplate engraving, plate DLXXVI, Füssli, Johann Melchior; Tyroff, Martin (sculps.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel

Baden and Argöw, Baden in Aargau, engraving, pl. 3, to p. 66, 1739, David-François de Merveilleux: Amusemens des bains de Bade en Suisse, de Schintznach et de Pfeffers. Londres: chez Samuel Harding, 1739

Antonio Tempesta, Italian, 1555 - 1630, Hunting Scene, between 16th and 17th century, etching and engraving printed in black ink on laid paper, Image: 7 1/8 × 10 3/4 inches (18.1 × 27.3 cm

Master M. Z., German, Grand Ball, 1500, engraving printed in black ink on laid paper, Sheet: 8 3/4 × 12 1/8 inches (22.2 × 30.8 cm

Filipendula vulgaris, Christophoriana, Meadowsweet, copperplate engraving, p. 580, Besler, Basilius; Jungermann, Ludwig, 1713, Basilius Besler: Hortus Eystettensis (...). Nürnberg, 1713

Abraham Bosse, French, 1602-1676, Les vierges sages, ca. 1635, engraving and etching printed in black ink on laid paper, Plate: 10 1/4 × 13 1/8 inches (26 × 33.3 cm

Thursday webs, Sage, Engraving, p. 530, Besler, Basilius; Jungermann, Ludwig, 1713, Basilius Besler: Hortus Eystettensis (...). Nürnberg, 1713

The sacrifices of the clean, Parallel title: Sacrifice of pure animals, Signed: M. Tyroff sculps, copperplate engraving, plate CCXXIIII (Vol. 2), Füssli, Johann Melchior; Tyroff, Martin (sculps.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel

Against Silvaplana, View towards Silvaplana towards Lake Sils, La Margna in the background and left Curwatsch and Surlei, Signed: C. Huber, steel engraving, pl. 11, after p. 16, Huber, Caspar Ulrich (del. und sc.), 1870, Caspar Ulrich

Abraham Bosse, French, 1602-1676, Les vierges folles, ca. 1635, engraving and etching printed in black ink on laid paper, Plate: 10 1/4 × 13 1/8 inches (26 × 33.3 cm

For the fig tree leaf, which have arisen from a single running all to Tell Eystettensis, Opuntia ficus-indica, copperplate engraving, p. 800, Besler, Basilius; Jungermann, Ludwig, 1713, Basilius Besler: Hortus Eystettensis (...). Nürnberg,

Sliding walls Hierichuntis, Parallel title: Invading Moors to Jericho, Signed: M. Tyroff sculps, copperplate engraving, plate CCCLXIX, Füssli, Johann Melchior; Tyroff, Martin (sculps, ), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel (...).

Mill with arms to triturate the covers and other materials that go into the manufacture of fences and pottery, Mill, copper engraving, Signed: Leblanc del. Et sculp, Pl. 379, Leblanc (del. et sc.), 1829, Bulletin de la Société

Baking teeth of the lion, Signed: J. G. Pintz sculps, copperplate engraving, plate DLIII, Füssli, Johann Melchior; Pinz, Johann Georg (sculps.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel (...). Augspurg und Ulm: gedruckt bey Christian

Horses are swifter than leopards, Parallel title: Horses easier than the Parden, Signed: J. G. Pintz sculps, copperplate engraving, plate DCLVI, Füssli, Johann Melchior; Pinz, Johann Georg (sculps.), 1731, Johann Jakob Scheuchzer:

Age 100, between 1565 and 1637, engraving printed in black ink on laid paper, Sheet (trimmed within plate mark): 4 5/8 inches (11.7 cm

Plan des Hammerwerks, Hammerwork plan, engraving, 1789, Johann Jacob Ferber: Mineralogische und metallurgische Bemerkungen in Neuchatel, Franche Comté und Bourgogne, im Jahr 1788 angestellt. Berlin: bey August Mylius, 1789

Milan Cathedrale, Milan Cathedral, Signed: Breviere, wood engraving, plate 5, to p. 45, Brévière, Louis-Henri; Girardet, Karl, 1846, Alexandre Calame, Rodolphe Toepffer, Voyages en zigzag ou excursions d'un pensionnat en vacances dans

John Cousen, English, 1804-1880, after William Henry Bartlett, English, 1809-1854, View Below Table Rock, ca. 1837, engraving printed in black ink, colored by hand on wove paper, Image: 6 7/8 × 4 3/4 inches (17.5 × 12.1 cm

Yellow-billed Cuckoo, 1827, Engraving and etching printed in black, colored by hand on wove paper, Plate: 21 1/4 x 26 5/8 in. (53.9 x 67.6 cm

Everything depends on you, Parallel title: Everyone is waiting for you, Signed: J. G. Pintz sculps, copperplate engraving, plate DLXVII, Füssli, Johann Melchior; Pinz, Johann Georg (sculps.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel

Entwässerungsmaschine (9), Manually operated machine for drainage, copper engraving, Fig. CV, p. 163, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore, 1588

Mobile Brückenkonstruktion (11), Mobile bridge construction, copperplate engraving, fig. CLI, after p. 218, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore, 1588

Thal area of Samedan, The plateau of Samedan, Signed: C. Huber, steel engraving, plate 5, after p. 16, Huber, Caspar Ulrich (del. und sc.), 1870, Caspar Ulrich Huber, Album von St. Moritz in Oberengadin Canton Graubünden

Johannes Eremita, Parallel Title: John in the Desert, Signed: G. D. Heümann sculps, copperplate engraving, plate DCLIX, Füssli, Johann Melchior; Heumann, Georg Daniel (sculps.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel (...). Augspurg

Oven of a glassworks, Oven of a glassworks on Mont Cenis, copper engraving, 1789, Johann Jacob Ferber: Mineralogische und metallurgische Bemerkungen in Neuchatel, Franche Comté und Bourgogne, im Jahr 1788 angestellt. Berlin: bey August Mylius,

Schlangen-Beschwörer, Signed: G. D. Heümann sculps, copperplate engraving, plate DLII, Füssli, Johann Melchior; Heumann, Georg Daniel (sculps.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel (...). Augspurg und Ulm: gedruckt bey Christian

Pumpe (22), Manually operated pump for well, copperplate engraving, Fig. XXII, to p. 33, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore, 1588

Jan van de Velde, Dutch, 1593-1641, Autumn, c. 1617, Etching and engraving printed in black on laid paper, plate: 11 3/8 x 16 3/4 in

Ziehbrunnen (8), Sewing well with rope winch construction, copperplate engraving, Fig. LXXXII, p. 126, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore, 1588

Noah farmer Vinedresser, Parallel Title: Noe Wine and Agriculture; Noah, Signed: M. Tyroff sculp, copperplate engraving, plate LXVII (vol. 1), Füssli, Johann Melchior; Tyroff, Martin (sculp.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel

View of the glaciers on the Upper Sandalp, Canton Glarus 6000 'ü. sea, View of the glaciers on the upper sandalp, copperplate engraving, aquatint, plate 2, to p. 48, Hegetschweiler, Johannes, 1825, Johannes Hegetschweiler, Reisen in den

William Blake, English, 1757-1827, Wherefore Dost Bruise Me? Weeping He Exclaimed, ca. 1826, engraving printed in black ink on chine collé, Plate: 10 3/4 × 13 7/8 inches (27.3 × 35.2 cm

Idolatrous fish service, Signed: J. G. Pinz sculp, copper engraving, plate CCCXXVI (Bd. 2), Füssli, Johann Melchior; Pinz, Johann Georg (sculp.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel (...). Augspurg und Ulm: gedruckt bey Christian

Plan and elevation of a fortification 3, Copper engraving, fortification according to Francesco Marchi, Taf. L, Marini, Luigi (ill.), 1810, Architettura militare di Francesco de' Marchi: illustrata da Luigi Marini. Roma: da' Torchi di Mariano

Iaal, Ibex, Rupicapra, Parallel title: Iaal, Capricorn, Chamois, Signed: D. Scheüchzer sculp, copperplate engraving, plate CCCXCVII, Füssli, Johann Melchior; Scheuchzer, David (sculp.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel

Jesus was baptized, Parallel Title: The Baptism of Christ, Signed: J. A. Fridrich sculps, copperplate engraving, plate DCLXIV, Füssli, Johann Melchior; Fridrich, Jacob Andreas (sculps.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel (...).

Moses, Parallel Title: Moses a shepherd, Signed: M. Tyroff sculp, copperplate engraving, plate CXVI (Vol. 1), Füssli, Johann Melchior; Tyroff, Martin (sculp.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel (...). Augspurg und Ulm: gedruckt

Sharon, roses, lilies of the valleys, Parallel Title: Saarons-Rosen, Thal-Lilien, Signed: J. G. Pintz sculps, copperplate engraving, pl. DXCVIII, Füssli, Johann Melchior; Pinz, Johann Georg (sculps.), 1731, Johann Jakob Scheuchzer:

The royal grandeur Ahasveri, Parallel title: Ahasveri royal splendor, Signed: B. Probst sculps, copperplate engraving, plate DV, Füssli, Johann Melchior; Probst, Johann Balthasar (sculps.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel (...).

Ascent of the Gemmi, Ascent to the Gemmi, Signed: D'Aubigny, Pisan, wood engraving, plate 23, after p. 215, D'Aubigny; Toepffer, Rodolphe; Pisan, 1846, Alexandre Calame, Rodolphe Toepffer, Voyages en zigzag ou excursions d'un pensionnat

Giorgio Ghisi, Italian, 1520-1582, The Farnese Hercules, between 1575 and 1579, engraving printed in black ink on laid paper, Sheet (trimmed inside plate mark): 12 3/4 × 7 inches (32.4 × 17.8 cm

Charles Surendorf, American, 1906-1979, Narrow Gauge Railroad - Keeler, ca. between 1937 and 1939, wood engraving printed in black ink on japan paper, Image: 9 × 13 1/2 inches (22.9 × 34.3 cm

Hans Sebald Beham, German, 1500-1550, Death of Hercules, 1548, engraving printed in black ink on paper attached at all corners to paperboard, Sheet (trimmed within plate mark): 2 1/8 × 3 1/8 inches (5.4 × 7.9 cm

Windmühle (1), Operation of a windmill, copperplate engraving, Fig. CXXXII, after p. 205, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore, 1588

Hendrik Goudt, Dutch, 1585-1630, after Adam Elsheimer, German, 1574-1620, Ceres Seeking Her Daughter, 1610, engraving printed in black ink on laid paper, Plate: 12 1/2 × 9 5/8 inches (31.8 × 24.4 cm

Hans Sebald Beham, German, 1500-1550, Hercules Killing Cacus, 1545, engraving printed in black ink on laid paper, Sheet (trimmed within plate mark): 2 × 2 3/4 inches (5.1 × 7 cm

Every part of the Earth consists of the blessed, Parallel Title: Blessedness of the Holy Land, Signed: J. G. Pinz sculp, copperplate engraving, plate CCCXXXIV (Vol. 2), Füssli, Johann Melchior; Pinz, Johann Georg (sculp.), 1731, Johann

Swing and gazebo, Copper engraving, no. VIII, 1796, Johann Gottfried Grohmann (Hg.): Ideenmagazin für Liebhaber von Gärten, Englischen Anlagen und für Besitzer von Landgütern: um Gärten und ländliche Gegenden, sowohl mit geringem als auch

The Blight in Corn, Mildew at the grain, signed: Drawn by Francis Bauer; Engraved by F. Sansom; Pub, by H.D. Symonds, Plate 7, p. 14, Bauer, Francis (drawing); Sansom, F. (engraving); Symonds, H. D. (publ.), William Curtis: Practical

Living in the inner court decisions, Parallel title: Activities in the Priest's Court, Signed: J. G. Pintz sculps, copperplate engraving, plate CCCCXL, Füssli, Johann Melchior; Pinz, Johann Georg (sculps.), 1731, Johann Jakob Scheuchzer:

Petrification from Switzerland, Petrification with locality in Switzerland, signed: J. Melchior Füesli, copperplate engraving, pl. 6, after p. 148 (vol. 1), Fuesli, Johann Melchior (del. et fec.), 1746, Johann Jacob Scheuchzer, Joh. Georg

Georg Pencz, German, 1500-1550, Judith with the Head of Holofernes, between ca. 1532 and ca. 1540, engraving printed in black ink on laid paper, Plate: 1 7/8 × 3 inches (4.8 × 7.6 cm

Jacques Callot, French, 1592-1635, after Matteo Rosselli, Italian, 1578-1650, Le Mariage de Ferdinand Ier, between 1615 and 1619, engraving printed in black ink on laid paper, Sheet (trimmed within plate mark): 8 5/8 × 11 3/4 inches (21.9

Todros Geller, American, 1889-1949, South of Chicago, 1937, woodcut/wood engraving printed in black ink on laid paper, Image: 8 × 10 inches (20.3 × 25.4 cm

Juste Chevillet, French, 1729-1790, after Charles Willson Peale, American, 1741-1827, Nathaniel Green, 18th century, engraving printed in black ink on wove? paper, mounted on paperboard, Plate: 12 7/8 × 8 7/8 inches (32.7 × 22.5 cm

Lathyrus ... Indian Avicennse, Pea Peas, Fine Mint, Copper Engraving, S. 494, Besler, Basilius; Jungermann, Ludwig, 1713, Basilius Besler: Hortus Eystettensis (...). Nürnberg, 1713

Work SIXTH DAY 2, Parallel Title: Sixth Tagwerck; Sixth Day, Signed: J. A. Friderich sculp, copperplate engraving, pl. XXII (vol. 1), Füssli, Johann Melchior; Fridrich, Jacob Andreas (sculp.), 1731, Johann Jakob Scheuchzer: Kupfer-Bibel

Pumpe (23), Hydro-powered Pump, Copper Engraving, Fig. XXIII, p. 35, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore, 1588

Emile-Antoine Bayard, French, 1837-1891, N. Boileau - Despreaux, c. 1880, Steel engraving? printed in black, colored by hand on wove paper, image: 8 3/8 x 6 in

François Boucher, French, 1703-1770, Girl Sitting, ca. between 1736 and 1738, crayon manner engraving (possibly a counterproof) on laid paper, Sheet: 9 3/8 × 7 7/16 inches (23.8 × 18.9 cm

Mühle (18), How a Manual Mill Works, Copper Engraving, Fig. CXXXI, p. 204, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore, 1588

Hans Sebald Beham, German, 1500-1550, Return of the Prodigal Son, between 1525 and 1550, engraving printed in black ink on cream laid paper, Image and sheet: 2 3/8 × 3 7/8 inches (6 × 9.8 cm

Plan of an attachment 3, Copper engraving, attachment to Francesco Marchi, Taf. XC, Marini, Luigi (ill.), 1810, Architettura militare di Francesco de' Marchi: illustrata da Luigi Marini. Roma: da' Torchi di Mariano de Romanis e figli, 1810

Hendrick Goltzius, Dutch, 1558-1617, after Cornelis Cornelisz. van Haarlem, Dutch, 1562 - 1638, Phaeton, 1588, engraving printed in black ink on off-white laid paper, Plate (diameter): 13 1/8 inches (33.3 cm

Bad Walterswil, Bad Walterswil near Zug, signed: Fuesli, copperplate engraving, plate 14, to p. 320 (vol. 1), Fuesli, Johann Melchior (sculps.), 1746, Johann Jacob Scheuchzer, Joh. Georg Sulzern, Johann Jacob Scheuchzers ...

Bau eines Grabens (2), Hand-operated machine for the transport of debris, copperplate engraving, fig. CXXXIX, p. 216, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore,

Brunnen (2), How a fountain works in cross section, copperplate engraving, Fig. CLXXXV, after p. 308, 1588, Agostino Ramelli: Le diverse et artificiose machine del capitano Agostino Ramelli (...). A Parigi: in Casa del'autore, 1588

Thomas Bowles, ca. 1712–died 1753, British, after unknown artist, (Fossati, G.), undated, Hand-colored engraving on wove paper, Sheet: 60 1/2in. (153.7cm), castle, cityscape, hills, sailboats, sea, ships, Campania, Europe, Italy,

D. Gerardo Seghers, Pictori Antuerpiano, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving and stipple engraving on

Summer Eve - the Rainbow, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, c. 1837, Engraving

View of Blackfriars Bridge, Thomas Tagg, died 1809, British, after Edward Dayes, 1763–1804, British, 1796, Engraving, Sheet: 8 1/2 x 11 5/16in. (21.6 x 28.7cm

Coteaux de Mauves, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, early proof on medium, slightly textured, gray, wove paper, Sheet: 5 3/4 × 8 3/8 inches (14.6 ×

Corinth, (Cenchrea), Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

View of the East End of Henry VIIth Chapel as Restored in 1813, Print made by George Hawkins, active 1795–1810, British, after George Hawkins, active 1795–1810, British, 1814, Line engraving on smooth, moderately thick, white wove

St. Michael's Mount, Cornwall, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1813, Line engraving and etching on moderately thick, moderately textuerec, cream, wove paper, with

The Welch Bridge at Shrewsbury, Print made by Benjamin Green, ca. 1736–ca. 1800, British, after Paul Sandby RA, 1731–1809, British, Published by George Kearsley, 1758–1813, British, 1776, Etching and line engraving on medium,

Gertrude of Wyoming - the Waterfall, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

Plan of a Building for the Register Offices in Scotland, Morton, active 1767, after Robert Baldwin, active 1763–1769, 1767, Engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 22 × 17 1/2 inches (55.9 × 44.5 cm),

Richmond Hill, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1826, Line engraving, First published state on moderately thick, moderately textured, beige, wove paper, with gray chine

Beaugency, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Plymouth Dock, from Mount Edgecumbe, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1816, Etching and engraving, first published state on moderately thick, moderately textured,

York House, St. James's Park, Robert Wallis, 1794–1878, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1828, Hand colored engraving

Assos, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof, touched

Griselda Returning to her Father, Print made by Amedeo Gabrielli, 1749–1817, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Francis Rigaud, 1742–1810, French, active in Britain (from 1771),

Clermont-Ferrand, France, after James Duffield Harding, 1798–1863, British, undated, Line engraving on medium, slightly textured, cream wove paper

The Stricken Deer, Print made by John Webb, active 1830–1840, ca. 1835, Line engraving and etching on medium, slightly textured, cream wove paper

Young's Night Thoughts, Page 49, 'As If the Sun Could Envy, Check'd His Beam', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Frontispiece to the Artist's Catalogue, 1761, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1807, Etching and line engraving on medium,

View of Theatre Royal, Drury Lane, Print made by unknown artist, ( P. Begbie ), after Robert Adam, 1728–1792, British, and James Adam, 1730–1794, Scottish, 1776, Line engraving, Sheet: 23 x 17 1/4in. (58.4 x 43.8cm

The Countess of Blessington, Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, Published by Hodgson & Graves, ca. 1812–1892, British, 1837, Mezzotint, line engraving, and stipple

George Augustus Elliot Lord Heathfield, Print made by Richard Earlom, 1743–1822, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1788, Stipple engraving on medium, slightly textured, cream wove paper, Sheet: 25 1/2 × 20

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