Images at Librifly

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A Dark Grey Hunter upon full Chace, Joseph Sympson, active 1725–died 1736, after James Seymour, 1702–1752, British, 1739, Engraving on two separate plates and printed on two conjoined sheets, Sheet: 22 1/2 x 32 3/4in. (57.2 x 83.2cm

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

Ticket to a Concert of Ancient Vocal and Instrumental Music, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Nathaniel Dance RA, 1735–1811, British, 1786, Line engraving and etching on

Fingal's Cave, Staffa, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; early engraver's proof on medium, slightly textured, cream wove paper with

A Sea Engagement between the English and Algerines, Print made by Paul Fourdrinier, French, after Peter Monamy, 1681–1749, British, Published by Bowles & Carver, 1763–1830, British, Published by Robert Wilkinson, 1758–1825, British,

Miss Farren, Print made by Charles Knight, 1743–c.1826, British, after Sir Thomas Lawrence, 1769–1830, British, 1791, Etching and stipple engraving (second state) on medium, slightly textured, cream laid paper, Sheet: 20 3/8 × 14 1/8

Ingleborough, from Hornby Castle Terrace, Charles Heath, 1785–1848, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving, engraver's proof

Pass of Sant Alessio between Taormina and Messina, Sicily, after Peter DeWint, 1784–1849, British, 1821, Etching and line engraving on medium, slightly textured, cream wove paper with cream chine-coll

The South West View of Isleworth Church, James Roberts the Elder, 1725–1799, British, after Jean B. C. Chatelain, 1710–1771, French, 1750, Engraving

The Balance of Power. - OR - 'The Posterity of the Immortal Chatham, Turn'd Posture Master.' - Vide Sheridan's Speech -, James Gillray, 1757–1815, British, 1791, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Frontispiece: Hercules Fighting the Hydra, Print made by Francesco Curti, 1610–1690, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Domenico de Rossi, active 17th century, Italian, ca. 1633, Line engraving

Shakespeare's Tomb, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1782, Engraving, Sheet: 16 1/2 x 11 3/4in. (41.9 x 29.8cm

Donnington Castle, taken from a Field adjoining the Road to East Ilsley, from Newbury., Print made by Letitia Byrne, 1779–1849, British, after Joseph Mallord William Turner, 1775–1851, British, Print made by William Byrne, 1743–1805,

Herstmonceux Castle, Sussex Pl. IV, Sparrow, active 1773–1787, after unknown artist, undated, Engraving on textured, moderately thick, cream wove paper, Sheet: 12 3/4 × 9 7/8 inches (32.4 × 25.1 cm), Plate: 5 × 7 1/4 inches (12.7 ×

The London Institution..., unknown artist, ( Cook ), after Robert Bremmel Schnebbelie, active 1803–1849, 1819, Engraving

Bowes Tower, Print made by Edward Webb, active 1805–1854, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; touched engraver's proof on medium, slightly textured, cream wove paper

Samuel Johnson, William Camden Edwards, 1777–1855, British, after George Clint, 1770–1854, British, Published 1823, Engraving, Sheet: 6 3/4 x 5in. (17.1 x 12.7cm

Exeter Change, after George Cooke, 1781–1834, British, after George Cooke, 1781–1834, British, undated, Engraving on slightly textured, medium, cream wove paper, Sheet: 4 1/2 × 6 inches (11.4 × 15.2 cm), architectural subject

A True and Exact Draught of the Tower Liberties surveyed in the Year 1597, unknown artist, eighteenth century, after unknown artist, 1742, Engraving

Peter Stuyvesant Rebuking the Cobbler, Print made by Edward Francis Finden, 1791–1857, British, after Charles Robert Leslie, 1794–1859, British, 1823, Line engraving on medium, slightly textured, cream laid paper

Boy Holding an Apple for a Girl with Two Girls Beyond, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on moderately thick, slightly textured, cream wove

The Inside of Guild Hall near Cheapside, London, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Giovanni and Garcia De' Medici, Print made by Frederick Christian Lewis the Elder, 1779–1856, British, after Giorgio Vasari, 1512–1574, Italian, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Young's Night Thoughts, Page 75, 'The Sun Beheld it -- No, the Shocking Scene', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Horse-racing Set of six: 3. Catching the Colts, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm

Portrait of a Man Writing with a Quill Pen, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after P. de Glim, active 1470, 1787, Engraving

Jorasse, Print made by William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

The New Royal Exchange - View of the Western Front, John Saddler, 1813–1892, British, after unknown artist, 1840, Engraving

Henry III, Renold Elstrack, 1570–1625(?), British, Published by Compton Holland, active 1616–d.1621, British, 1618 or 1628, Line engraving on medium, slightly textured, beige laid paper, laid on mount, Sheet: 7 1/16 x 4 7/16 inches

A View of Somerset House with St. Mary's Church, after Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, undated, Engraving on slightly textured, moderately thick, cream wove paper, Sheet: 14

Venus Childing Cupid, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1784, Stipple engraving on moderately thick, moderately textured, cream, laid paper,

Stratford-on-Avon, Charles Heath, 1785–1848, British, after Richard Westall, 1765–1836, British, 1824, Line engraving on wove paper, Sheet: 6 1/4 x 5in. (15.9 x 12.7cm

Sir Nathaniel Bacon, Print made by Thomas Chambars, ca. 1724–1789, British, after Sir Nathaniel Bacon, 1585–1627, British, Published by William Richardson, active 1778–1812, 1793, Etching and stipple engraving on moderately thick,

Interior Quadrangle of the Bishop of London's Palace, Simon Watts, active 1812, after unknown artist, 1812, Engraving

Cortes and Pizarro, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on moderately thick, slightly textured, beige, wove paper, with beige, chine colle, Sheet:

Eaux Bonnes, in the Pyrenees, Print made by James H. Kernot, active early 19th century, after Thomas Allom, 1804–1872, British, Published by Fisher, Son & Co., active 1821–1848, British, undated, Line engraving on medium, slightly

King's Square in Soho, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

George the Third King of Great Britain &c &c &c, Print made by William Woollett, 1735–1785, British, after Allan Ramsay, 1713–1784, British, 1763-1764, Line engraving on medium, slightly textured, beige laid paper, Sheet: 14 x 10

The Conversion of the Proconsul, Print made by George Baxter, 1804–1867, British, after Raphael, Italian, 1483–1520, Italian, Printed by Bradshaw & Blacklock, active ca.1850, British, Published by Bradshaw & Blacklock, active ca.1850,

John Milton, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1741, Line engraving on medium, slightly textured, cream laid paper

Ground Plan of Mr. Blight's House and Premises, unknown artist, after unknown artist, 1806, Engraving on smooth, medium, white wove paper, Sheet: 8 1/8 × 4 11/16 inches (20.6 × 11.9 cm), architectural subject

Fowey, Cornwall, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Etching and line engraving; first published state on medium, slightly textured, cream wove paper

Remains of Winchester Palace, Southwark, Print made by George Cooke, 1781–1834, British, after John Sell Cotman, 1782–1842, British, Published by Longman, active 1804–1914, British, 1828, Etching and line engraving on medium,

Elderly Couple on a Park Bench, with Two Men Beyond, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on thick, slightly textured, cream wove paper

Pont-Neuf, Paris, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Wm. Fredk. King of Prussia (Frederick William III), Print made by unknown artist, nineteenth century, 1815, Stipple engraving on medium, slightly textured, cream wove paper, Sheet: 13 1/2 x 11 inches (34.3 x 27.9 cm), historical subject,

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

Epicurus, 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: 6 5/8 x 4 1/8

Duchess of Athol's Seat near Charlton in Kent, William Watts, 1752–1851, British, after Paul Sandby RA, 1731–1809, British, 1777, Engraving

The Sheep of His Pasture, Print made by Edward Calvert, 1799–1883, British, ca. 1828, Engraving on thick, slightly textured, cream wove paper with cream chine collé, Sheet: 2 3/8 x 4 1/16 inches (6.1 x 10.3 cm), Plate: 1 5/8 x 3 1/4

Lady Sinclair, Print made by Marino Bovi, Italian, 1758–ca.1805, Italian, after Richard Cosway, 1742–1821, British, Printed by W. Leaton, active 1791, Published by Marino Bovi, Italian, 1758–ca.1805, Italian, 1791, Stipple

The Shepherd, Engraved by Welby Sherman, active 1827, between 1827 and 1836, Engraving on thick, slightly textured beige wove paper with beige chine collé, Sheet: 12 7/8 x 11 9/16 inches (32.7 x 29.3 cm), Plate: 4 15/16 x 3 3/16 inches (12.6

Shakespeare and His Friends at the Mermaid Tavern, Print made by James Faed Sr., 1821–1911, British, after John Faed, 1820–1902, British, 1850, Engraving on thick beige slightly textured wove paper, Sheet: 29 x 34 inches (73.7 x 86.4

John Fisher, Bishop of Rochester, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland and England, ca. 1745, Line engraving on medium, slightly textured,

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

Between Quilleboeuf and Villequier, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Memorial to the Children of James and Mary Woodmason, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Charles Reuben Ryley, 1752–1798, British, 1798, Engraving

Analysis of Beauty, Plate I, 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,

Rouen - Distant View, William Richardson, active 1842–1877, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

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; first published state india paper on medium, slightly

Yarmouth, Norfolk, Edward Francis Finden, 1791–1857, British, after Edward William Cooke, 1811–1880, British, Published by Charles Tilt, active c.1815–1853, British, 1837, Etching and line engraving on moderately thick, slightly

Dunstaffnage, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, engraver's proof

Spilsbury's Views of Jamaica: A View of Dry Harbour in the Parish of St. Ann's Jamaica, Taken from the West end of the Tavern, with the Fort & Barracks view in Ruins, unknown artist, eighteenth century, after drawings by John Spilsbury,

A Tempest - voyage of Columbus, 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

Illustrations of Imitation of Eclogue I, Page 18, 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

Savoy Prison, Print made by John Thomas Smith, 1766–1833, British, 1793, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Harvest under a Crescent Moon, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), Welby Sherman, active 1827, ca. 1826, Wood engraving on thin, smooth, cream laid paper, Sheet: 5 13/16 x 5 1/4 inches (14.8 x

North West View of the Fair on the River Thames, during the Great Frost 1683/4, James Stour, active 1825, after Jan Wyck, ca. 1645–1700, Dutch, active in Britain (from ca. 1664), 1825, Engraving

The Chapel in the White Tower, London, James S. Storer, 1771–1853, British, after James S. Storer, 1771–1853, British, 1807, Engraving

St. Agatha's Abbey, Easby, John Le Keux, 1783–1846, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, Sheet: 15

Rievaulx Abbey, Yorkshire, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving and etching, 2nd published state on moderately thick, slightly textured, cream, wove paper,

Cephalonia, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, 3rd state on medium, slightly textured, cream, wove paper, Sheet: 6 1/8 × 8 11/16 inches (15.6 ×

Abbotsford, Print made by Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, published state on medium, slightly textured, cream wove paper with chine-collé, Sheet: 8 1/8

Lambing Time, 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: 5

The Sleeping Congregation, Print made by William Hogarth, 1697–1764, British, 1736, Engraving, Sheet: 10 3/8 × 8 1/4 inches (26.4 × 21 cm), caricature, church, genre subject, sleeping, stained glass

The Loretto Necklace, Charles Cousen, 1813?–1889, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Linlithgow, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

Sepulchrum C. Cestii Epulonis Ostensi Via Et Pyramide Et Marmore Quadrato Nobilissimum Atque Omnium Vetustissimum, Print made by Ambrogio Brambilla, active ca. 1579–1599, Italian, Published by Giovanni Orlandi, active 1590–1640, Italian,

The Kingdom's Martyr - Sir Edmund Burie Godfrey, unknown artist, after Thomas Dawks, 1636 –, British, 1678, Engraving

A Perspective View of the Foundling Hospital with Emblematic Figures, Charles Grignion, 1717–1810, British, Michael 'Angelo' Rooker, 1746–1801, British, after Samuel Wale RA, 1721–1786, British, 1749, Etching and line engraving on

Evening, Print made by John Browne, 1741–1801, British, after John Browne, 1741–1801, British, Published by John Boydell, 1720–1804, British, Published by Josiah Boydell, 1752–1817, British, ca. 1797, Etching and line engraving

MacBeth, Act I, V Scene I: 'A Dark Cave in the Middle a Cauldrom Boiling', Robert Thew, 1758–1802, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1803, Engraving, Sheet: 19 9/16 x 24 3/4in. (49.7 x 62.9cm

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

Bermerside, John Horsburgh, 1791–1869, British, Print made by Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; touched engraver's proof on medium, slightly textured, cream wove paper with chine-coll

Artus Wolfart, Schelte A. Bolswert, 1586–1659, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple engraving and line engraving, (2nd state) on medium, moderately

The Alps at Daybreak, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, with gray,

London Bridge, 1745, James Baylis Allen, 1803–1876, British, after Samuel Scott, 1701/2–1772, British, 1853, Etching and line engraving, Sheet: 7 1/8 x 10 1/2in. (18.1 x 26.7cm

Spilsbury's Views of Jamaica: A Prospect of Rio Bona Harbour in the Parish of St. Ann's, and the Tavern, Wharf, and Stores, in the Parish of St. James's, the North Side Jamaica, unknown artist, eighteenth century, after drawings by John

Teignmouth, Devon, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1815, Etching and line engraving, first published state on moderately thick, moderately textured, cream, wove paper,

The N. W. Prospect of the Parish Church of St. Magnus the Martyr, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving, Sheet: 14 3/4 x 9 1/2in. (37.5 x 24.1cm

Crickieth Catle, North Wales, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Do You want any Matches?, Print made by Anthony Cardon, 1772–1813, Flemish, after Francis Wheatley, 1747–1801, British, 1794, Stipple engraving, printed in color, Plate: 16 1/8 x 12 5/8in. (41 x 32.1cm), figure study, genre subject

Spittle Fields and Places Adjacent, unknown artist, after unknown artist, ca. 1720, Engraving

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

Georgiana, Duchess of Devonshire, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Lady Diana Beauclerk, 1734–1808, British, 1778, Etching and stipple engraving, printed in brown ink on

Jerusalem, Pool of Bethesda, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof (touched

Front View of the New St. Luke's Hospital late Erected in Old Street Road, Published by John Sewell, active 1735–1802, British, 1785, Line engraving on medium, slightly textured, cream laid paper

Chateau de la Mailleraie, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Bass Rock, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1826, Line engraving and etching, 2nd state on thick, moderately textured, beige, wove paper, with beige, chine colle, Sheet:

Richmond Hill and Bridge, Surrey, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

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