Images at Librifly

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Fraser's Panoramic Plan of London, unknown artist, ( ? Josiah Neele ), after unknown artist, 1831, Engraving with some hand coloring, Sheet: 10 3/8 x 17 11/16in. (26.4 x 44.9cm

Calypso bewailing the departure of Ulysses, William Nutter, 1754–1802, British, after Samuel Shelley, 1750–1808, British, 1789, Stipple engraving, Sheet: 8 x 8in. (20.3 x 20.3cm

A Perspective View of Grosvenor Square, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1741, Hand colored engraving

Studies, with Gardens, Possibly for a Talman Family House, Verso by John Talman, 1677–1726, British, Recto: Print made by Adriaen Frans Boudewyns, 1644–1711, Flemish, after Abraham Genoels, baptized 1640, died 1723, Flemish,

Fall of the Tees, John Landseer, 1769–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Open etching and line engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 13 1/16 × 18

The Hermitage of Warkworth, Robert Pollard, 1755–1838, British, 1787, Engraving and etching on medium, slightly textured, cream, laid paper, mounted on, thick, rough, blued white, wove paper, Mount: 21 1/4 × 30 1/8 inches (54 × 76.5

PLATE XXVIII. St Stephen's Chapel, East Front, Westminster, Print made by John Carter, 1748–1817, British, after Robert William Billings, 1813–1874, British, between 1790 and 1802, Line engraving proof on moderately thick, smooth,

Tiger Hunting in the East Indies, Richard Earlom, 1743–1822, British, after Johan Joseph Zoffany RA, 1733–1810, German, active in Britain (from 1760), 1802, Stipple engraving, mezzotint, and etching with hand coloring on thick,

Africa, Print made by John Browne, 1741–1801, British, Drawn by Joseph Farington, 1747–1821, British, after Paul Bril, 1554–1626, Flemish, Published by John Boydell, 1720–1804, British, 1775, Line engraving on medium, slightly

Naples, from the Mole, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1819, Etching and engraving on moderately thick, smooth, cream, wove paper, with cream, chine colle, Sheet: 11 × 15

Chateau de la Mailleraie, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

Sydney, New South Wales, Published by J & F Harwood, 1820s–1844, British, 1842, Line engraving on medium, slightly textured, cream wove paper

Cheapside Cross, Alone, unknown artist, nineteenth century, after unknown artist, 1809, Engraving, Sheet: 11 x 7 9/16in. (27.9 x 19.2cm

Verona, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, first published state

Josaphat, 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

The North East View of Camberwell Church, James Roberts the Elder, 1725–1799, British, after Jean B. C. Chatelain, 1710–1771, French, 1750, Engraving, Sheet: 5 1/2 x 6 13/16in. (14 x 17.3cm

The Acropolis of Athens, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Etching, line engraving, and grraphite, with scraping (Engraver's Proof a) on moderately thick, slightly

Frederick Zucchero, Print made by Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 7/8 x 9 1/8 inches (30.2 x 23.2 cm), Plate: 7 3/8 x 5 3/4 inches

Brussels, From the Hotel de Bellevue, Print made by William Radclyffe, 1780–1855, British, after Robert Batty, 1789–1848, British, Published by Henry Graves & Co., ca. 1812–1892, British, 1831, Line engraving on medium, slightly

Loch Katrine, 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

View near Havre, Print made by John Cousen, 1804–1880, British, after Clarkson Stanfield, 1793–1867, British, Published by Henry Graves & Co., ca. 1812–1892, British, 1834, Steel engraving on medium, slightly textured, cream wove

Young's Night Thoughts, Page 65, Night the Fourth, 'The Christian Triumph.', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

William Penn's Treaty with the Indians, Print made by John Hall, 1739–1797, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1775, Line-engraving and etching, published state, Plate: 16 3/4 x 23 1/4in.

Kolquall 1790, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1790, Hand colored engraving

The Distressed Poet, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833, Line engraving and etching on medium, slightly textured, cream wove paper

Columbus Setting Sail, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving on moderately thick, slightly textured, beige, wove paper, with gray, chine colle,

Fish Market, Rotterdam, W. Floyd, active 1845, after Joseph Mallord William Turner, 1775–1851, British, 1834-1856, Line engraving, first published state

Banditti, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

The Painted Chamber, Westminster, Print made by John Greig, active 1800–1853, British, Attributed to after C. John M. Whichelo, 1784–1865, British, 1804, Line engraving marked with graphite on slightly textured, moderately thick, white

Cæsar Alexander Scaglia Abbas Staphardæ et Mandanices, Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving and stipple

Vigilance, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1782, Etching and stipple engraving on medium, slightly

Young's Night Thoughts, Page 73, 'Draw the Dire Steel? -- Ah No!', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine: 17 1/2

pl. 1: The Circle of the Lustful ' ...and like a corpse fell to the ground' Hell; Canto v. line 137., William Blake, 1757–1827, British, 1827, Line engraving on medium, slightly textured, cream wove India proof paper, Sheet: 14 3/4 × 21

The Virgin and Child, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), Published by John

Lieutenant General Thomas Talmash, Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), undated, Line engraving and etching on moderately thick, moderately textured, cream,

Deal, Kent, Print made by William Radclyffe, 1780–1855, British, Joseph Mallord William Turner, 1775–1851, British, 1826, Etching and line engraving; first published state on medium, slightly textured, cream wove paper, Sheet: 11 3/8

Polling at the Hustings, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1808, Etching and line engraving on medium, slightly textured,

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

For the Sexes: The Gates of Paradise, Plate 2, Frontispiece, 'What is Man!', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 13 3/4 inches

For the Sexes: The Gates of Paradise, Plate 20, 'He meets his Saviour in the Grave . . . . ', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper,

Petrus de Jode, 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 and line engraving on moderately thick, slightly

View of Camberwell from the Grove, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 7 7/8 x 11 5/8in. (20 x 29.5cm

St. Florent, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's Proof b

Georgiana, Countess Spencer, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Gainsborough RA, 1727–1788, British, 1783, Stipple engraving and etching on medium, moderately

Romeo and Juliet: Act IV, Scene V. 'Juliet on her bed.', George Siegmund Facius, 1750–1804, and Johann G. Facius, 1750–after 1802, German, after John Opie, 1761–1807, British, 1803, Engraving, Sheet: 17 7/16 x 23 1/2in. (44.3 x

Loch Katrine, 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

Brienne, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, first published state

William Cavendish of Newcastle, Print made by George Vertue, 1684–1756, British, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1739, Line engraving, stipple engraving and etching on

Henry Boyle, Lord Carleton, Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1740, Engraving; Proof before inscription, with engraver's name & date only, Sheet: 18 1/2 x

Staircase at Southeast Angle, Painted Chamber, Westminster, Print made by unknown artist, (William Taylor), after Robert William Billings, 1813–1874, British, 1835, Line engraving on slightly textured, moderately thick, whtie wove paper,

Excelsior (tail piece), 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,

Isola Bella, on the Lago Maggiore, James Fittler, 1758–1835, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and engraving on moderately thick, slightly textured, cream, wove paper, with cream,

The View of One-Tree Hill in Greenwich Park, Engraved by John Wood, 1728–1781, British, after Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), 1740-1749, Engraving, Sheet: 16 3/8 x 27 3/8in. (41.6 x 69.5cm

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

Abbotsford from the Northern Bank of the Tweed, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving, India proof, published state

Illustrations to Samuel Richardson's 'The Life of Pamela', illustrated by Joseph Highmore, L. Truchy, 1721–1764, after Joseph Highmore, 1692–1780, British, 1762, Engraving, Plate: 11 3/4 x 14 13/16in. (29.8 x 37.6cm) and Sheet: 14 3/16 x

'Cries of London' Plate 7: 'Fresh gathered Peas Young Hastings', Giovanni Vendramini, 1769–1839, Italian, after Francis Wheatley, 1747–1801, British, 1795, Colored engraving with stipple, DON'T USE: 16 x 12in. (40.6 x 30.5cm

A Perspective View of St. Marys Church in the Strand near the Royal Palace of Somerset, London, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1748, Engraving

The Unfortunate Death of Major André, Print made by John Goldar, 1729–1795, British, after William Hamilton, 1751–1801, British, 1783, Etching and line engraving on medium, slightly textured, cream laid paper

A Rake's Progress, Plate V: He Marries, Print made by William Hogarth, 1697–1764, British, 1735, Engraving, Sheet: 14 x 16in. (35.6 x 40.6cm), satire

Falstaff at Hern's Oak - 'Merry Wives of Windsor, ' Act V, Scene V, unknown artist, ( ?Beneditte), after Henry William Bunbury, 1750–1811, British, 1793, Colored engraving and stipple engraving, Sheet: 16 x 18in. (40.6 x 45.7cm

A View of Westminster from the River Thames, unknown artist, seventeenth century-eighteenth century, after unknown artist, undated, Engraving

Enfield, Outer Suburb North, George Cooke, 1781–1834, British, after Clarkson Stanfield, 1793–1867, British, 1827, Engraving

Joppa, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engravers' proof, touched

Young's Night Thoughts, Page 10, 'Disease Invades the Chastest Temperence', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine:

Tynemouth, Northumberland, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1831, Etching and line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 5/8

Charing Cross - New Trafalgar Square, unknown artist, nineteenth century, after unknown artist, undated, Engraving, Sheet: 7 5/16 x 11in. (18.6 x 27.9cm

The Old Téméraire, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1845, Etching and line engraving; engraver's proof (a) on moderately thick, slightly textured, cream wove

Gibraltar, Print made by Edward Francis Finden, 1791–1857, British, drawn by Joseph Mallord William Turner, 1775–1851, British, after sketch by George Philip Reinagle, ca.1802–1835, British, 1832-1834, Line engraving 1st published

Monsieur Gaultere, Etienne Fessard, 1714–1777, French, undated, Line engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 14 5/8 × 10 1/8 inches (37.1 × 25.7 cm) and Image: 14 7/8 × 9 1/2 inches (37.8 × 24.1

Chiswick House, Print made by Benjamin Green, ca. 1736–ca. 1800, British, after Samuel Wale RA, 1721–1786, British, undated, Line engraving on medium, slightly textured, cream laid paper, Sheet: 4 7/8 × 7 3/4 inches (12.4 × 19.7 cm

Francis Russell, second Earl of Bedford, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1740, Line engraving on medium, slightly textured, cream laid paper

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

Hannibal Crossing the Alps, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Beer Street, William Hogarth, 1697–1764, British, undated, Engraving, beer, caricature, cityscape, genre subject

Stava ella nel sepolcro; e quivi attrita / Da penitenza, orando giorno e notte, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain

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

A Consultation of Physicians, William Hogarth, 1697–1764, British, 1736, Engraving, Sheet: 8 5/8 x 7in. (21.9 x 17.8cm

Black Lion Tea Gardens, unknown artist, nineteenth century, after unknown artist, undated, Engraving, Sheet: 4 1/4 x 5 1/4in. (10.8 x 13.3cm

Tom Jones; The Interview of Tom Jones, and Sophia, after the Reconciliation, Peter Simon, 1750–1810, after John Downman, 1750–1824, British, 1789, Engraving, couch, dress, embrace, literary theme, window, England, Somerset,

Young's Night Thoughts, Page 16, 'Oft Bursts My Song beyond the Bounds of Life', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

At Naples, 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,

Set of Four: Boys Bathing, George Morland, 1763–1804, British, 1790, Hand colored stipple engraving, Sheet: 11 7/16 x 14 15/16in. (29.1 x 37.9cm

Book of Job, Plate 7, Job's Comforters, 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 3/4 inches (21.6 × 17.1 cm),

Weathercote Cave when Half Filled with Water, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching, engraver's proof on moderately thick, slightly textured,

The Forum, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Young's Night Thoughts, Page 72, 'And vapid; sense and reason shew the door', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

The Temporary Bridge at Blackfriars, Richard Bernard Godfrey, 1728–op.1794, British, after Richard Bernard Godfrey, 1728–op.1794, British, 1775, Engraving, Sheet: 8 1/4 x 10 3/8in. (21 x 26.4cm

Love, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), ca. 1783, Etching and stipple engraving on medium, slightly

A Curious Pump, unknown artist, after unknown artist, 1791, Engraving

Simmer Lake near Askrig, Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Etching and engraving on thick, slightly textured, cream, wove paper, Sheet: 15 1/16 × 22 inches (38.3 ×

Thomas Howard, Earl of Arundel, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Paul Rubens, 1577–1640, Flemish, 1744, Line engraving on medium, slightly textured, cream laid paper

West Window of the Chapel, New College Oxford, Part of Clouds From the Nativity Scene, George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1785, Stipple engraving on moderately thick, moderately

Hon. Mrs. Stanhope as 'Contemplation', Print made by Caroline Watson, 1760–1814, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Line engraving, etching, and aquatint (Ham. 1) on moderatey thick, moderately textured,

St. Clement Danes, John Boydell, 1720–1804, British, after Thomas Boydell, active 1750–1751, 1751, Hand-colored engraving on laid paper, Sheet: 60 1/2in. (153.7cm), arches, architectural subject, columns, men, pillars, women, City

Girl Pinning Flowers on a Hat, 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, Sheet: 6 7/8 x 7

Sylvia, Print made by Peltro W. Tomkins, 1760–1840, British, after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1786, Stipple engraving on medium, moderately textured, beige laid paper, Sheet: 16 5/8 × 13

Mrs. Beale and her Son Charles, Print made by Thomas Chambars, ca. 1724–1789, British, after Mary Beale, 1633–1699, British, 1762, Etching and line engraving on moderately thick, smooth, beige wove paper, Sheet: 11 1/8 x 8 11/16 inches

Floating Dock at Rotherhithe, James C. Allen, active 1821–1831, British, after François Louis Thomas Francia, 1772–1839, French, active in Britain, undated, Engraving on smooth, moderately thick, white wove paper, Sheet: 8 5/16 × 10

The King's Lever, unknown artist, nineteenth century, after unknown artist, 1821, Hand colored engraving, Sheet: 4 11/16 x 6 15/16in. (11.9 x 17.6cm

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