Images at Librifly

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Shakspeare, Benjamin Holl, 1808–1884, British, 1827, Stipple engraving on wove paper, Sheet: 5 x 3 5/16in. (12.7 x 8.4cm

The Stag at Bay, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Jan Wyck, ca. 1645–1700, Dutch, active in Britain (from ca. 1664), no date, Line engraving, Sheet: 11 5/8 x 17 1/2in. (29.5 x 44.5cm

Matlock High-Torr, James Mason, 1710–1783, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1766, Hand-colored engraving and etching, Sheet: 15 5/8 x 22 3/8in. (39.7 x 56.8cm

Windsor from the Forest, John Greig, active 1800–1853, British, after Joseph Mallord William Turner, 1775–1851, British, 1804-1805, Line engraving, first published state

Extract from the Domesday Book concerning the Manor of Stockwell, Thomas Allen, active 1767–1772, British, after unknown artist, undated, Engraving

Houses on the North Side of Leadenhall Street, Bartholomew Howlett, 1767–1827, British, after unknown artist, undated, Engraving

Barnes, Surrey, James Newton, 1748–c. 1804, British, after unknown artist, 1807, Engraving on slightly textured, medium, cream wove paper, Sheet: 7 1/2 × 9 1/4 inches (19.1 × 23.5 cm), Plate: 6 3/16 × 8 inches (15.7 × 20.3 cm), and

Dr. Johnson, R. Page, active 1816–1825, after unknown artist, undated, Engraving, Sheet: 9 1/2 x 6 5/8in. (24.1 x 16.8cm

Nazareth, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, Engraver's proof

Malmsbury Abbey, Wiltshire, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

The Red Sea and Suez, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, first published state

Illustrations of Imitation of Eclogue I, Page 16, William Blake, 1757–1827, British, Published by Robert John Thornton, 1768–1837, British, 1821, Wood-engraving and letterpress on medium, slightly textured, cream wove paper, Spine: 7

Hornby Castle from Tatham Church, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove

Chateau d'Arc Near Dieppe, William Forrest, 1802–1889, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, first published state

Book of Job, Plate 20, Job and His Daughters, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 × 10 5/8 inches (38.1 × 27 cm), Plate: 8 1/4 × 6 5/8 inches (21 × 16.8

A View of the Royal Exchange Interior Court, Sutton Nicholls, active 1725, British, after Sutton Nicholls, active 1725, British, 1729, Engraving

Cologne, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, first published state

Garden Flowers, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Stipple engraving, etching and color woodcut on cream card mounted on beige card, Image: 3 7/16 x 6 7/8 inches (8.8 x 17.5 cm), botanical subject,

A Difference of Opinion, Print made by Auguste Boulard, 1852–1927, French, after Lawrence Alma-Tadema, 1836–1912, Dutch, active in Britain (from 1870), Printed by A. Salmon, active c.1860–1907, Published by Arthur Tooth & Sons Ltd.,

Ticket for the Theatre Royal, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, Between 1775 and 1800, Etching and line engraving on moderately thick, moderately textured, cream laid paper,

Aysgarth Force, John Scott, 1774–1828, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Line engraving and etching on moderaetely thick, moderately textured, cream, wove paper, with cream, chine colle, Sheet:

The Rhymer's Glen, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, engraver's proof

The Graces Crowning the Bust of Raphael, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1787, Line engraving

Newbury From Speen Hill, Print made by William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, Published by William Byrne, 1743–1805, British, 1805, Etching and line engraving

A View in Kew Gardens, William Birch, 1755–1834, British, Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1789, Stipple engraving and etching on medium, slightly textured, cream wove paper, Sheet: 6 7/8 x 7 1/2

The Jersey Smuggler detected; - or - Good Cause for Seperation scored through and replaced by Discontent, James Gillray, 1757–1815, British, 1796, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Lancaster Sands, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 11/16 × 14 9/16

View of Somerset House, George Murray, died 1822, after Edward Dayes, 1763–1804, British, 1797, Engraving

Midsummer, James Smetham, 1821–1889, British, 1860, Etching and engraving, Sheet: 4 5/16 x 7 1/2in. (11 x 19.1cm

The Vale of Ashburnham, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1819, Etching and line engraving on medium, slightly textured, cream wove paper, Image: 7 3/8 ×

Hagley Hall, Print made by James Caldwall, 1739–1819, British, undated, Etching and line engraving on medium, slightly textured, cream wove paper, Sheet: 8 3/8 x 11 7/16 inches (21.3 x 29.1 cm), Plate: 6 1/4 x 9 3/8 inches (15.8 x 23.8

The Laughing Audience, after William Hogarth, 1697–1764, British, 1768, Etching and line engraving on medium, slightly textured, cream laid paper

One of six perspective designs for the Concave Mirror and engraved mirrors in Vauxhall Gardens, Print made by Jacob Bonneau, 1741–1786, British, after Samuel Wale RA, 1721–1786, British, and after John Gwynn RA, 1713–1786, British,

Crichton Castle, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, first published state

Falmouth, Cornwall, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1815, Etching and engraving, engraver's Proof on thick, moderately textured, cream, laid paper, Sheet: 11 11/16

The Morning of Life, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), 1860-1861, Etching, engraving and drypoint, with plate tone on thick, slightly textured, cream wove paper, Sheet: 7 1/2 x 10 7/8 inches

At Rome, Print made by Placido Columbani, born ca. 1744, active 1801, Italian, active in Britain, after Placido Columbani, born ca. 1744, active 1801, Italian, active in Britain, Published by Isaac Taylor, 1730–1807, British, undated,

Binny, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1790, Engraving

Ashby de la Zouch, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Etching and engraving 1st state on thick, slightly textured, cream, wove paper, with gray chine colle, Sheet: 10

Martin Archer Shee, Henry Griffiths, 1835–1849, British, after Thomas Bridgford, 1812–1878, British, after unknown artist, Published by James McGlashan, active 1846, 1846, Stipple engraving on medium, slightly textured, beige wove

The Globe Theatre, Bankside, Southwark, James Stow, ca. 1770–after 1820, British, after unknown artist, undated, Engraving, Sheet: 12 3/16 x 10 1/8in. (31 x 25.7cm

Jacobvs de Cachopin, Amator Artis Pictoriæ Antuerpia, 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 (3rd state) on

Henry VIIth Chapel, View in the North Aisle, Print made by S. Sparrow, active 1795, after J. C. Smith, 1778–1810, British, Published by Longman, active 1804–1914, British, 1808, Etching and line engraving on medium, slightly textured,

The Dead Eagle - Oran, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

The Painted Chamber, John Greig, active 1800–1853, British, after C. John M. Whichelo, 1784–1865, British, 1804, Engraving

Thomas Graves, unknown artist, eighteenth century, undated, Stipple engraving, Sheet: 13 1/2 x 17in. (34.3 x 43.2cm

Shakspeare, Robert Cooper, ca. 1800–1836, British, 1811, Stipple engraving and line engraving on wove paper, Image: 11 3/4 x 9in. (29.8 x 22.9cm) and Sheet: 16 1/2 x 11in. (41.9 x 27.9cm

St. Julienne's Chapel, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, 1st state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 5/8 × 6 5/16

Sir Thomas Rawlinson, George Vertue, 1684–1756, British, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1719, Line engraving and stipple engraving on thick, moderately thick, cream, laid paper, Sheet: 18

Jacobus Callot, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple engraving, line engraving and etching on medium, slightly

West Front of Saint Paul's Covent Garden, Edward Rooker, 1724–1774, British, after Paul Sandby RA, 1731–1809, British, 1777, Engraving, Sheet: 7 1/4 x 9 3/4in. (18.4 x 24.8cm

Speculum Romanae Magnificentiae, Antonio Lafreri, 1512–1577, French, 1546-1590, Line engraving on medium, slightly textured, cream laid paper

Tortoise, Print made by James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving, hand colored, animal art, tortoise

The House of Commons, James Fittler, 1758–1835, British, after Edward Pugh, 1763–1813, British, 1804, Hand colored engraving

The Village of Charing &c. from Rodolphus Aggas's Map, unknown artist, after Ralph Aggas, 1540?–1621, 1803, Reproduction / engraving, Sheet: 7 13/16 x 10 1/4in. (19.8 x 26cm

Miss, I have a Monstrous Crow to pluck with you!!, James Gillray, 1757–1815, British, 1794, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Stock Exchange, unknown artist, after unknown artist, 1801, Engraving

Southwest Corner of Lyon Park, Thomas Preist, active 1740-1750, British, after Thomas Preist, active 1740-1750, British, 1738, Engraving, Sheet: 10 1/8 x 14 1/2in. (25.7 x 36.8cm

Lucas van Uden, Pictor Ruralium Prospectuum Antuerpiæ, 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, stipple

Parnassus, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream,

Frances Teresa Stewart, Duchess of Richmond and Lennox, Thomas Watson, 1743–1781, British, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1779, Engraving on moderately thick, moderately textured, cream, laid

The South of Principal Front of Albermale House (Originally called Clarendon House), Richard Sawyer, active 1820–1830, after J. Spilbergh, 1680s, 1808, Engraving

The Pilgrim, Print made by Edward Alfred Goodall, 1819–1908, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Hougomont (Vignette), William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving

Coriolanus, Act IV, Scene III, Coriolanus, etc., James Caldwall, 1739–1819, British, after Gavin Hamilton, 1723–1798, British, active in Italy (1744–48 and 1756 on), 1803, Engraving, Sheet: 17 9/16 x 23 13/16in. (44.6 x 60.5cm

Saltash, Cornwall, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (earlier

Airth Castle, Stirlingshire; page 4 (Volume One), Print made by Henry Wallis, 1805–1890, British, after John Preston Neale, 1771/80–1847, British, 1831, Engraving

National Conveniences, James Gillray, 1757–1815, British, 1796, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Thos. Jephson, Camberwell, William Thomas Fry, 1789–1843, British, after John Jackson, 1778–1831, British, 1816, Engraving, crayon, Sheet: 12 1/8 x 8 3/4in. (30.8 x 22.2cm

Anthony and Cleopatra, Act 3, Scene II, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Henry Tresham, 1751–1814, British, 1794, Engraving

Crichtoun Castle, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Bombardment of St. Jean D'Acre, Print made by H. Winkles, Active 1834–1840, Published by The London Printing and Publishing Company, 1840, Line engraving on medium, slightly textured, cream wove paper

Male Nude Seated from Panel of 'God Separating Light from Dark', Print made by Adamo 'Ghisi' Scultori, ca.1530–1585, after Michelangelo, 1474/1475–1564, Italian, 1550 to 1585, Engraving on medium, slightly textured, cream laid paper

Melrose, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Babylon, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, engraver's proof

Elevation of the River Front, Print made by Thomas Talbot Bury, 1811–1877, British, Print made by Thomas Turnbull, active 1839–1842, after Thomas Hopper, 1776–1856, British, ca. 1835, Line engraving and etching on smooth, moderately

Natalis Thomas Maggi, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Biagio Rebecca, Italian, 1735–1808, Italian, Published by Molteno, Colnaghi & Co., established 1760, active ca.

Abbotsford, Print made by Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

(i) A True and Exact Prospect of the Famous Citty of London . . . (ii) Another Prospect of the Sayd Citty taken from the Same Place . . ., Wenceslaus Hollar, 1607–1677, Bohemian, after Wenceslaus Hollar, 1607–1677, Bohemian, 1666, Hand

Plate VI: Taken on the Spot in the County of Downe, Representing Spinning, Reeling with the Clock Reel, and Boiling the Yarn, William Hincks, 1752–1797, after William Hincks, 1752–1797, 1791, Stipple engraving

Intemperance, Print made by Guillaume Sulpice Chevalier, 1804–1866, French, after Thomas Stothard, 1755–1834, British, Printed by William Day, 1764–1807, undated, Line engraving, stipple engraving and etching on moderately thick,

View of Westminster Bridge, Thomas Tagg, died 1809, British, after Edward Dayes, 1763–1804, British, 1797, Engraving, Sheet: 8 1/8 x 11 1/2in. (20.6 x 29.2cm

Fountainebleau, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Bank of England Royal Exchange, James H. Kernot, active early 19th century, after William Marlow, 1740–1813, British, 1800, Hand colored engraving, Sheet: 14 5/8 × 18 15/16 inches (37.1 × 48.1 cm) and Image: 12 × 17 3/4 inches (30.5 ×

A View of Esher in Surrey the Seat of the Rt. Hon. Henry Pelham Esq., Luke Sullivan, 1705–1771, British, after Luke Sullivan, 1705–1771, British, 1759, Engraving, Plate: 14 3/8 x 20 1/2in. (36.5 x 52.1cm

Clarissimus Diodorus Tuldenus I.C., et Professor Regius in Academia Louaniensi, Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635,

Captivity, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, moderately textured, cream, wove paper, Sheet: 17 3/8 × 12 1/4 inches

Hackney Church and Chapel, unknown artist, ( Hay ), after unknown artist, 1812, Engraving

London, from the Tower of St. Savior's Church, Print made by Samuel Davenport, 1783–1867, British, after Gideon Yates, active 1825–1837, British, 1835, Line engraving on medium, slightly textured, cream wove paper

From Antique Coins, William Blake, 1757–1827, British, Published by Robert John Thornton, 1768–1837, British, 1821, Etching and line engraving on medium, slightly textured, cream wove paper, Spine: 7 1/8 inches (18.1 cm), Sheet: 7 x 4

Sheregrig, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

...Scuote, / il lembo pieno; e nella torbid'onda / Tutte lascia cader l'impiesse note..., Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in

Crossing the Brook, William Richardson, active 1842–1877, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Advertisement for a Mental Home at Manor Cottage, King's Road, Chelsea, unknown artist, nineteenth century, after unknown artist, undated, Engraving, Sheet: 10 x 7 7/8in. (25.4 x 20cm

Orpheus instructing..in Theology (Designs for the Walls of the Great Room of Society for the Encouragement of the Arts), James Barry, 1741–1806, Irish, After 1783, Engraving, Sheet: 16 x 19in. (40.6 x 48.3cm

Village Recruits, Charles Fox, 1749–1809, British, after Sir David Wilkie, 1785–1841, British, 1838, Engraving, Sheet: 20 3/8 x 25in. (51.8 x 63.5cm

The Ceiling of the Banqueting House at Whitehall: The Peaceful Reign of James I, Simon Gribelin, 1662–1733, French, active in Britain, after Sir Peter Paul Rubens, 1577–1640, Flemish, 1720, Line engraving on Moderately thick, moderately

A Tea Garden, Francis David Soiron, Born 1764, after George Morland, 1763–1804, British, 1793, Stipple engraving on moderately thick, slightly textured, beige, wove paper, Sheet: 19 × 21 13/16 inches (48.3 × 55.4 cm), Plate: 18 3/8 ×

Tynemouth, Northumberland, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Ten Needle-Box Prints, Print made by Vincent Robert Alfred Brooks, 1814–1885, British, Imitator of George Baxter, 1804–1867, British, undated, Etching, aquatint, and stipple engraving with color woodcut on moderately thick, smooth,

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