Images at Librifly

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The Wreck, Henry Griffiths, 1835–1849, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1837, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream, chine colle,

Oxford Physic Garden, Print made by Benjamin Green, ca. 1736–ca. 1800, British, after Samuel Wale RA, 1721–1786, British, 1766, Line engraving on medium, slightly textured, cream laid paper mounted on medium, slightly textured, cream

Oliver Escapes being Bound Apprentice to the Sweep, Print made by George Cruikshank, 1792–1878, British, 1837, Line engraving on medium, slightly textured, cream wove paper

Lady Gertrude, Marchioness of Halifax, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1776, Line engraving and etching on

St. Stephan's Dom-Kirche, Vienna, Print made by William Tombleson, ca.1795–1835, British, after Robert Batty, 1789–1848, British, 1822, Line engraving on medium, slightly textured, cream wove paper

Credulity, Print made by Anthony Cardon, 1772–1813, Flemish, after Francis Wheatley, 1747–1801, British, 1796, Color-printed etching and stipple engraving, with hand coloring in watercolor on moderately thick, slightly textured, cream

Sir Matthew Hale, George Vertue, 1684–1756, British, after John Michael Wright, 1625–1700, British, 1735, Stipple engraving, line engraving, and etching on medium, slightly textured, laid paper, mounted on, medium, slightly

The Departure of the Sons of Tippoo from the Zenana, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Mather Brown, 1761–1831, American, active in Britain, Published by Daniel Orme,

The Virgin Mother, after William Dyce, 1806–1864, British, Published by Virtue, active 1820s–1908, British, 1854, Line engraving and etching on moderately thick, slightly textured, cream wove paper

Worms Cathedral, Print made by John Woods, active 1836–1860, after William Tombleson, ca.1795–1835, British, undated, Line engraving on medium, slightly textured, cream wove paper

A Voyage of Discovery, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving and stipple engraving on thick, slightly textured, beige, wove paper, with cream, chine colle, Sheet: 17 1/8

Chateau Hamelin, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof (early) on thick, moderately textured, cream, wove paper, , Sheet: 9 1/8 × 13 1/8

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,

A View of the Royal Exchange at London, James Caldwall, 1739–1819, British, after unknown artist, undated, Engraving

Mary Stuart, Princess of Orange, Print made by Ludwig von Siegen, 1609–c.1680, German, after Gerard van Honthorst, 1590–1656, Dutch, active in Britain in 1628, 1643, Mezzotint and line engraving on medium, slightly textured, cream

Domestic Happiness, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17 1/8 × 11 3/4

Coombe-Martin, Devonshire, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1814 to 1826, Etching and line engraving on thick, slightly textured, cream wove paper, Sheet: 11

Hospice of the Great St. Bernard, Number 11 (vignette), Print made by W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly

Examples of Ceremonial Dress of Soldiers, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Brook House, Hackney, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1797, Engraving

The Valley in Which the Children of Israel, Were Encamped, Mount Sinai in the Distance, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof

Putney from the River Side, Henry Ogg, active 1830, after Edward Bradley, active 1824–1838, 1830, Engraving

The Young Squire, Print made by Alfred W. Cooper, active 1850–1901, British, after Alfred W. Cooper, active 1850–1901, British, undated, Wood-engraving with hand coloring on moderately thick, slightly textured, cream wove paper, Sheet:

4. The Earthing of the Fox / Renard dans son Terrier, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after John Wootton, 1682–1764, British, 1770, Engraving, Sheet: 19 3/4 x 15 3/4in. (50.2 x 40cm

A Portrait of the East Indiaman built at Mr. Bayley's Ship Yard, Ipswich, Launched Aug. 1817, Robert Pollard, 1755–1838, British, after J. Smart of Ipswich, Died 1813, 1817, Engraving, Sheet: 11 x 13 1/4in. (27.9 x 33.7cm

Strawberry Hill (Outer Western Suburb), William Birch, 1755–1834, British, after Joseph Charles Barrow, active 1789–1802, British, 1790, Engraving

Lulworth Cove, Dorset, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1811-1812, Line engraving and etching, engraver's proof on moderately thick, smooth, beige, wove paper, with

The Lollard's Tower, Lambeth Palace, John Greig, active 1800–1853, British, after C. John M. Whichelo, 1784–1865, British, 1804, Engraving

Palais at Blois, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, ngraver's proof

Chairing the Members, 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, slightly textured, cream

Omai a Native of Vlaietea, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Nathaniel Dance RA, 1735–1811, British, 1774, Engraving

Nymphs and Putti Sleeping, 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, Engraving

A View of Woolwich, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1750, Engraving

Between Clairmont & Mauves, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof on medium, smooh, cream, wove paper, Sheet: 6 × 9 inches (15.2 × 22.9

Mount Lebanon and the Convert of St. Antonio, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

Paris from Pere-la-Chaise, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Regatta Ball at Ranelagh, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1775, Line engraving

Sepulchrum C. Cesti Epulonis Ostiensi via et pyramide et marmore quadrato noblissimum atq. omnium vetustissimum, Print made by unknown artist, Published by Antonio Lafreri, 1512–1577, French, 1547, Line engraving and etching on thin,

Perseus cautiously relating to Andromeda the Transforming power of Medusa's Head, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain

A View of Richmond Palace fronting the River Thames, James Basire, 1769–1822, British, after unknown artist, 1765, Engraving

Studies for the Instruction of Painters, two suites. Rome, c. 1630, Print made by Francesco Curti, 1610–1690, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Domenico de Rossi, active 17th century, Italian,

This Celebrated Ewe was Bred and Fed, by Mr. Wilcox., Print made by unknown artist, undated, Etching and line engraving with hand coloring on moderately thick, slightly textured, cream wove paper, Sheet: 20 x 24 3/8 inches (50.8 x 61.9 cm) and

View of the Walton Bridge, Venus's Temple, William Woollett, 1735–1785, British, after William Hannan, died 1775, British, 1757, Engraving on thick, rough, cream, laid paper, Sheet: 17 7/8 × 23 5/8 inches (45.4 × 60 cm), Plate: 14

The Ceremony of Performing the Champion's Challege at the Coronation in Westminster Hall, George Hawkins, active 1795–1810, British, after unknown artist, 1784, Engraving

The Southwark End of Old London Bridge, Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1831, Hand colored engraving, Sheet: 12 7/8 x 16 5/8in. (32.7 x 42.2cm

Prudhoe Castle, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, 3rd state on moderately thick, sligtly textured, cream, wove paper, Sheet: 10 5/8 × 14 5/8 inches (27

October - Society in the Field, Print made by Adelaide Claxton, 1858–1905, British, undated, Wood-engraving, Sheet: 6 3/8 x 9 1/8in. (16.2 x 23.2cm), dog (animal), dress, field, genre subject, horses (animals), leisure, men, women

Tours - looking backwards, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

The Campagna of Rome, Print made by Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1829, Etching and line engraving on medium, slightly textured, cream wove paper, Image: 2 1/4 x 3

Richmond Terrace, Surrey, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Ann of Cleves, Queen of King Henry VIII, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland and England, 1741, Line engraving on medium, slightly textured,

Design for a House in a 'Theatrical Style' for Paul Methuen, Print made by Henry Hulsberg, died 1729, Netherlandish, active in London, after Colen Campbell, 1676–1729, British, undated, Engraving on medium, cream, slightly textured laid

Rhodes, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

The Tower of London, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, first published state on moderaely thick, moderately textured, cream, wove paper, with cream,

Farek 1789, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Hand colored engraving

The Southeast Prospect of the King Henry the VII's Chapel at Westminster, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1739, Engraving, Sheet: 11 x 12 3/8in. (27.9 x 31.4cm

Blackheath, Samuel Noble, 1779–1853, British, after William Bonneau Noble, 1780–1831, British, 1808, Engraving, Sheet: 7 x 8 7/16in. (17.8 x 21.4cm

Junction of the Greta and Tees at Rokeby, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1819, Line engraving and etching, engraver's proof on moderately thick, moderately textured, cream, laid

Château of Amboise, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Richard Cosway, Print made by unknown artist, ( J. Clarke ), after unknown artist, 1788, Stipple engraving and etching on moderately thick, slightly texutred, beige laid paper, Sheet: 8 15/16 x 5 7/8 inches (22.7 x 15 cm), Plate: 7 1/2 x 4

3 Characters, 4 Caricaturas, 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, slightly textured,

Twelfth Night, Act III, Scene IV: Olivia's House, Thomas Ryder, 1746–1810, Irish, after Johann Heinrich Ramberg, 1763–1840, German, active in Britain (1781–88), 1803, Stipple engraving on medium, smooth, cream laid paper, Sheet:

Columbus and his son, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 7/16 × 6

Vignette: lettered 'Bono Eventui', Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Mount Lebanon and the Convent of St. Antonio, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Acer amor fractas utinam tua tela sagittas, scilicet extinctas afpiciamque faces, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, ( Frances Chini ), and after unknown artist, ( Marco

James Douglas, fourth Earl of Morton, 1581, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1741, Line engraving on medium, slightly textured, cream laid paper

T. Banks, Sculptor, R. A., Print made by John Condé, 1765–1794, French, active in Britain, after Thomas Banks, 1735–1805, British, after John Condé, 1765–1794, French, active in Britain, Published by John Sewell, active

A Map of St. Giles, Cripple Gate without....., unknown artist, after unknown artist, 1755, Engraving

Columbus Setting Sail, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, cream, wove paper, with gray, chine colle, Sheet: 17 1/8 ×

Fishmonger's Hall, James Sands, active 1813–1846, OR Robert Sands, 1792–1855, British, after unknown artist, undated, Engraving

Obelisk at Axum, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Book of Job, Plate 6, Satan Smiting Job with Boils, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/4 × 10 7/8 inches (38.7 × 27.6 cm), Plate: 8 1/2 × 6 3/4 inches

D. Franciscus de Moncada, Marchio Aytonæ, Comes Ossonæ, Vice-Come Cabreræ et Baas, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635,

Julius Caesar: Act IV Scene III: Brutus' Tent ..., Edward Scriven, 1775–1841, British, after Richard Westall, 1765–1836, British, 1802, Engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 25 1/2 x 18 1/2in.

Mayence, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof

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

Hamlet Winstanley, James Thomson, 1800–1883, British, after Hamlet Winstanley, 1698–1756, British, 1828, Engraving

Dunstanborough Castle, Northumberland, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Bridge of Meulan, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Mrs. Gautherot, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Pierre N. Violet, 1749–1819, French, 1790, Stipple engraving and etching on thin, smooth, cream laid paper, Sheet: 7 1/2 x

Falstaff Reproved by King Henry, unknown artist, ( Shenner ), after Henry William Bunbury, 1750–1811, British, 1792, Engraving and stipple engraving, Sheet: 13 7/8 x 17 9/16in. (35.2 x 44.6cm), courtyard, feather, hats, Henry VI, part

A Tempest - Voyage of Columbus, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, (First Published State) on thick, slightly textured, cream, wove paper,

Fore Street and Pottenei in Fore Street, J. Shury, active 1812, after unknown artist, ( ? H. West ), 1833, Engraving

Templi, ut Putant, Romuli ac Remi, Print made by unknown artist, sixteenth century, Published by Antonio Lafreri, 1512–1577, French, 1550, Line engraving on medium, slightly textured, cream laid paper, Sheet: 13 1/2 × 10 inches (34.3

George Lambert, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 x 9 1/8 inches (29.8 x 23.2 cm), Plate: 9 x 6 1/4 inches (22.9 x 15.9 cm), and

Angers on the Main, Print made by Thomas Abiel Prior, 1809–1886, British, after Thomas Allom, 1804–1872, British, undated, Line engraving on medium, slightly textured, cream wove paper

The Prophet Isaiah, 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

Bacharach on the Rhine, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, with

Osborne House, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Etching, stipple engraving, and color woodcut on moderately thick, smooth, cream wove paper, Sheet: 10 1/4 x 7 3/8 inches (26 x 18.8 cm) and Image: 3

Snowy Range from Tyne or Marma, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof

Male Nude from Panel of 'God Separating the Waters...', 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

George Morley Bishop of Winchester, Print made by George Vertue, 1684–1756, British, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1740, Line engraving on medium, slightly textured, cream laid paper

The Rhine - Neuwied and Weissenthurm, Print made by Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1854, Line engraving on medium, slightly textured, cream wove paper

Sir Francis Bacon, Visount St. Alban, Lord Chancellor, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1738, Line engraving on medium, slightly textured, cream laid paper

St. Anne's Hill, No. II, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with beige, chine

Alborough, Suffolk, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, touched

Boscastle, Cornwall, Print made by Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1814 to 1826, Etching and line engraving; steel engraving on medium, slightly textured, cream wove

A View of Wilton, in Wiltshire, Luke Sullivan, 1705–1771, British, after Luke Sullivan, 1705–1771, British, 1759, Engraving, Sheet: 14 1/2 x 20 1/2in. (36.8 x 52.1cm

The Southern Front of Somerset House, with its Extensive Garden, Richard Sawyer, active 1820–1830, after Leonard Knyff, 1650–1721, Dutch, active in Britain (by 1681), 1808, Engraving

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