Images at Librifly

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Chase of a Cutter, Benjamin Thomas Pouncey, active 1772–1799, British, after John Kitchingman, c. 1740–1781, British, 1783, Engraving with watercolor, Sheet: 9 x 12in. (22.9 x 30.5cm

Solitude, William Woollett, 1735–1785, British, and William Ellis, 1747–1810, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1778, Line engraving and etching on moderately thick, slightly

Paul de Rapin, Print made by George Vertue, 1684–1756, British, 1734, Line engraving on medium, slightly textured, cream laid paper

Ashby de la Zouch, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Etching and engraving, 3rd state on moderately thick, slightly textured, beige wove paper, Sheet: 10 1/2 × 14

Nazareth, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, first state

Phares, Ancestor of Christ, 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

Familia Regia: Henry VIII, Henry VII, Elizabeth of York, Jane Seymour, George Vertue, 1684–1756, British, after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland and England, 1742, Engraving on moderately thick,

East & West Looe, Cornwall, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Etching and engraving on thick, slightly textured, cream, wove paper, with cream, chine collé,

The Circle of Gavarnie, Pyrenees, Print made by Joseph C. Bentley, 1809–1851, British, after Thomas Allom, 1804–1872, British, Published by Fisher, Son & Co., active 1821–1848, British, undated, Line engraving on medium, slightly

Bolton Abbey, Wharfdale, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1826, Line engraving, first published state on moderately thick, slightly textured, cream, wove paper, with

Covent Garden, unknown artist, seventeenth century-eighteenth century, after unknown artist, undated, Hand colored engraving, Sheet: 6 1/2 x 9 1/2in. (16.5 x 24.1cm

Henry Cornelius Vroom, Print made by Thomas Chambars, ca. 1724–1789, British, Isaac Oliver, ca. 1565–1617, French, active in Britain, undated, Etching and line engraving on moderately thick, smooth, beige wove paper, Sheet: 11 7/8 x 9

Frontispiece 'Antiquities at Pola', George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Line engraving and etching, engraver's proof on moderately thick, slightly textured, beige, wove

William Tell's Chapel, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1829, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-collé,

The Landing of Columbus, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on moderately thick, slightly textured, beige, wove paper, with gray,

William Cowper, William Ridley, 1764–1838, British, after unknown artist, 1803, Engraving

Georgiana, Countess Spencer, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Gainsborough RA, 1727–1788, British, 1782, Stipple engraving with etching in brown ink on medium,

Christ Hospital (from the Cloister), James S. Storer, 1771–1853, British, after James S. Storer, 1771–1853, British, 1804, Engraving, Sheet: 7 1/4 x 8 1/2in. (18.4 x 21.6cm

Ticket for the Ball at the Mansion House, 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

General Henry Ireton, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Samuel Cooper, 1609–1672, British, 1742, Line engraving on medium, slightly textured, cream laid paper

Rocks at Colgong on the Ganges, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof

Mrs. Quarrington as St. Agnes, Thomas Chambars, ca. 1724–1789, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1787, Line engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 19 3/8 × 14 3/4 inches

Vol. 6, Plate XXVI: Chapel of St Stephen, Chapel of St Mary in the Vaults, Print made by James Basire, 1769–1822, British, after Frederick Mackenzie, 1788–1854, British, after William Capon, 1757–1827, British, 1842, Line engraving

St. Botolph, Bishopsgate, Joseph Skelton, active 1820–1850, after John Coney, 1786–1833, British, 1812, Engraving, Sheet: 13 1/2 x 10 1/2in. (34.3 x 26.7cm

Manchester, Print made by Thomas Higham, 1796–1844, British, after George Pickering, c.1794–1857, British, Published by Fisher, Son & Co., active 1821–1848, British, 1834, Line engraving on medium, slightly textured, cream wove

(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,

Canonbury House, Islington, Print made by George Cooke, 1781–1834, British, Published by Longman, active 1804–1914, British, 1827, Etching and line engraving on medium, slightly textured, cream wove paper

Richmond, Yorkshire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching, engraver's proof (touched) on moderately thick, smooth, cream, wove paper, with

Amphitheatrum, Quod in Exquiliis non Procul a Templo S. Crucis in Hierusalem, Print made by unknown artist, sixteenth century, Published by Antonio Lafreri, 1512–1577, French, 1560, Line engraving on medium, slightly textured, cream laid

Edmund Burke Esqr., Print made by James Hardy, active 1770s, after Sir Joshua Reynolds RA, 1723–1792, British, ca. 1780, Stipple engraving on moderately thick, moderately textured, beige laid paper, Sheet: 15 9/16 x 11 13/16 inches (39.5

A View of Northumberland House and Charing Cross, unknown artist, eighteenth century-nineteenth century, after unknown artist, undated, Engraving, Sheet: 9 3/16 x 11 1/4in. (23.3 x 28.6cm

A North View of the Cities of London and Westminster, with part of Highgate taken from Hampstead Heath, near the Spaniards, Daniel Lerpiniere, c.1745–1785, British, after George Robertson, 1749–1788, British, 1780, Engraving, Sheet: 18

Winchelsea, Sussex, J. Henshall, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, stipple engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 5/8 × 14 1/2

Plate XXXII: Longitudinal Section through the Chantry Chapel and Cloister, St Stephen's Chapel, Print made by unknown artist, (J. Hawkesworth), after James Robert Thompson, active 1807–1843, 1835, Line engraving, proof before lettering on

King Henry IV, Part I: Act V, Scene iv, Plain near Shrewsbury. Prince Henry, Hotspur & Falstaff, Thomas Ryder, 1746–1810, Irish, after John Francis Rigaud, 1742–1810, French, active in Britain (from 1771), 1803, Engraving, Sheet: 14

The Alps at Daybreak, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof (touched), Sheet: 14 7/8 × 9 1/2 inches (37.8 × 24.1 cm), Plate: 11 1/2

Frederick Schomburg, 1st Duke of Schonberg, 1st Count Mertola, Peter Vanderbank, 1649–1697, French, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), undated, Engraving on medium, slightly textured, beige,

Romeo and Juliet in Friar Lawrence's Cell - 'Romeo and Juliet, ' Act II, Scene VI, Jan J. van den Bergh, active 1793–1800, after Henry William Bunbury, 1750–1811, British, 1794, Engraving and stipple engraving, Sheet: 16 1/4 x 19in.

Medea Murdering her two Children, 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

St. Mawes, Cornwall, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, completed

A Nisovian Tunguzian in his Winter Habit / Nisovian Tunguzians in their Summer Dress, unknown artist, 1768, Engraving

Martin Archer Shee, Esq., R. A., Print made by William Thomas Fry, 1789–1843, British, after John Jackson, 1778–1831, British, Published by Cadell & Davis, Strand, 1773–1836, British, 1817, Crayon manner with stipple engraving on

Jumeges, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

Serenissimus Princeps Wolfangus Wilhelmus, D.G. Comes Palatinus Rheni, Dux Bavariæ, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635,

Illustration depicting Mercury leading ? Venus from a Warrior ? Mars to a waiting Chariot, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Edward Francis Burney, 1760–1848, British, 1794, Engraving

Ancient Crosses at Whalley, James Basire, 1769–1822, British, after Joseph Mallord William Turner, 1775–1851, British, 1800, Etching and engraving ( Published State

Henry IV, Attributed to Renold Elstrack, 1570–1625(?), British, Published by Compton Holland, active 1616–d.1621, British, 1618 or 1628, Line engraving on medium, slightly textured, cream laid paper, laid on mount, Sheet: 6 7/8 x 4

Lord Ashburton, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Engraving

Canvassing for Votes, Plate II, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1807, Engraving

St. Mawes, Cornwall, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Handel, Jacobus Houbraken, 1698–1780, Dutch, after unknown artist, And surround and scene after Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), ca. 1737, Etching and line engraving, Image: 14 x 8 7/8in.

Master Henry Thomas Hope, Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, Published by Hodgson & Graves, ca. 1812–1892, British, 1836, Mezzotint, line engraving, and stipple

Solomon's Pools, James Stephenson, 1808–1886, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Etching and engraving (First Published State

Sir William Beechey, William Ridley, 1764–1838, British, after Sir William Beechey, 1753–1839, British, 1798, Engraving

Alexander Pope Esqr., Jacobus Houbraken, 1698–1780, Dutch, 1747, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

A Geometrical View of the Grand Procession of the Scald Miserable Masons, Designed as they were Drawn up over against Somerset House, in the Strand, on the 27th April, Ano 1742, Guillaume Philippe Benoist, 1725–ca. 1770, French, after

The Capture of Coldough and Harvey, Print made by George Cruikshank, 1792–1878, British, undated, Etching and stipple engraving on moderately thick, slightly textured, beige laid paper, Sheet: 5 11/16 x 8 9/16 inches (14.5 x 21.8 cm) and

Rev'd. John Home, Author of Douglas, William Ridley, 1764–1838, British, after unknown artist, 1804, Stipple engraving

'Cries of London' Plate 11: 'A New Love Song only ha'penny a piece', Anthony Cardon, 1772–1813, Flemish, after Francis Wheatley, 1747–1801, British, 1796, Colored engraving with stipple, DON'T USE: 16 1/16 x 12 5/16in. (40.8 x 31.3cm

A Ground Plan of Bermondsey Abbey, unknown artist, after unknown artist, 1822, Engraving

A set of seven, untitled, each dedicated: To the Right Hon'ble. Thomas Lord Viscount Weymouth...from the Original Painting in Long Leat Hall. Two riders by a farmhouse asking direction from a peasant; a well at left, with a couple of foxhounds...,

Cymon and Iphigenia, Print made by Francis Haward, 1759–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, Published by Francis Haward, 1759–1797, British, Text by John Dryden, British, 1797, Etching and stipple

Amalfi (vignette), Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper

Admiral Charles Middleton, 1st Baron Barham, Maria Anne Bourlier, active 1807, British, after John Downman, 1750–1824, British, 1809, Stipple engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 13 7/8 × 11

John Riley and Egbert Hemskirt, Alexander Bannerman, ca. 1730–1780, after unknown artist, 1762, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 x 9 inches (29.8 x 22.9 cm), Plate: 7 3/8 x 5 3/4 inches (18.7 x

Interior of the Royal Exchange, London, unknown artist, after unknown artist, 1822, Engraving

Whitehaven, Cumberland, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, 3rd state on moderately thick, smooth, cream, wove paper, Sheet: 10 7/8 × 14 15/16 inches (27.6 ×

South Prospect of Worksop Mannor in the County of Nottingham, Samuel Buck, 1696–1779, British, And Nathaniel Buck, active 1727–1753, c. 1745, Colored engraving, Sheet: 12 1/2 x 22 1/4in. (31.8 x 56.5cm

In the Parish Church of St. Laurence in the Jewry, J. Mynde, active 1740–1770, after J. Mynde, active 1740–1770, 1752, Engraving, Sheet: 12 1/4 x 8in. (31.1 x 20.3cm

The Guitar, Francis Engleheart, 1775–1849, British, after Thomas Stothard, 1755–1834, British, 1829, Line engraving on thick, slightly textured, cream, wove paper, with cream, chine cole, Sheet: 17 1/4 × 11 13/16 inches (43.8 × 30

Illustrissima et Excellentissima Domina; Dna: Alathea Talbot, etc. Comitissa Arundelliæ & Surriæ, etc. et prima Comitissa Angliæ., Wenceslaus Hollar, 1607–1677, Bohemian, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in

Inside of St. Martin, Outwich, George Barret Jr., 1767–1842, British, after Charles Reuben Ryley, 1752–1798, British, 1796, Engraving, Sheet: 9 x 11 1/4in. (22.9 x 28.6cm

Treport, after Clarkson Stanfield, 1793–1867, British, 1834, Line engraving on medium, slightly textured, cream wove paper

South View of London Street Dockhead and Plan of the Parish of St. Mary Magdalen, Bermondrey, Surrey, William Wise, Active 1823–1876, British, after Jacob C. Schnebbelie, 1760–1792, British, 1822, Hand colored engraving

Henry VI, Part I: Act II, Scene iii, The Countess of Auvergne's Castle, Robert Thew, 1758–1802, British, after John Opie, 1761–1807, British, 1803, Engraving, Sheet: 17 3/8 x 23 3/8in. (44.1 x 59.4cm

Untitled: Portrait of William Shakespeare, Henry Bryan Hall, 1808–1884, American, 1867, Line engraving on wove paper, Sheet: 5 1/2 x 3 1/2in. (14 x 8.9cm

William Hodges, Esq. R. A., Landscape Painter to the Prince of Wales, J. Thornthwaite, 1740–active 1776, after Richard Westall, 1765–1836, British, 1792, Engraving

Young's Night Thoughts, Page 19, 'Emblem of That Which Shall Awake the Dead', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Lord Dacre's Tomb, Thomas Gilks, active 1866–1876, after unknown artist, ( Niemann ), undated, Engraving on smooth, medium, cream wove paper, Sheet: 8 5/8 × 5 1/2 inches (21.9 × 14 cm) and Image: 6 1/2 × 3 7/8 inches (16.5 × 9.8 cm

Taming of the Shrew, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, 1821, Engraving on medium, slightly textured, cream laid paper, Sheet: 17 1/8 x 11 5/8 inches (43.5 x 29.5 cm), Plate: 10 3/8 x 7 3/4

The Tower of London, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving on medium, slightly textured, beige, wove paper, Sheet: 3 9/16 × 5 13/16 inches (9 × 14.8 cm) and

R.P.Carolus Scribanius, Peter Clouet, 1629–1670, 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 medium, slightly textured,

Folkstone, Print made by John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1844-1867, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine colle

Ophelia: There's Rue for You, and Here's Some for Me, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after James Nixon, c.1741–1812, British, Published by William Dickinson, 1746–1823,

Plate IX: St Stephen's Chapel, Print made by James Basire, 1730–1802, British, after John Topham, 1746–1803, British, Formerly unknown artist, 1795, Line engraving on slightly textured, moderately thick, white wove paper bar scale of

No. 3 and 4 in the 8 stages of growth of the Surinam Frog, Archibald Robertson, 1748–1788, after James Bruce, 1730–1794, British, 1796, Engraving

Berwick-on-Tweed, 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

Dudley Priory in Worcestershire, Plate 2, M. Coote, active 1876, after unknown artist, Published by Alexander Hogg, active 1778–1824, British, before 1786, Line engraving and etching on medium, slightly textured, blued white laid paper,

Eleazar, Ancestor of Christ, 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

A View of Somerset House with St. Mary's Church in the Strand, London, unknown artist, after Thomas Bowles, ca. 1712–died 1753, British, 1766, Hand colored engraving

George Romney, William Ridley, 1764–1838, British, after unknown artist, 1803, Engraving

A Perspective View of Privy-Garden, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1741, Engraving

Thomas Paine, William Sharp, 1749–1824, British, after George Romney, 1734–1802, British, 1793, Line engraving, published state, Sheet: 10 7/8 × 8 3/4 inches (27.6 × 22.2 cm

Two Girls Playing, 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 paper mounted on moderately thick,

Coteaux de Mauves, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, engraver's proof

The Hand Maid, Jacob Hogg, active 1751, British, after Henry Walton, 1746–1813, British, 1785, Stipple engraving, colored, Plate: 16 x 14in. (40.6 x 35.6cm

Book of Job, Plate 13, The Lord Answering Job out of the Whirlwind, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 × 10 7/8 inches (38.1 × 27.6 cm), Plate: 8 1/2 × 6

The Lodge, in Richmond Park, the residence of Phillip Medows, Esquire, West Suburb, William Watts, 1752–1851, British, after George Barret RA, ca. 1728/32–1784, Irish, 1780, Engraving

View near Jubbera, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof

Crossing the Brook, Print made by Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving; engraver's proof on moderately thick, slightly textured, cream wove paper,

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