Images at Librifly

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

Between Quileboeuf and Villequier, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving

For Children. The Gates of Paradise, Plate 1, Frontispiece, 'What is Man!', Print made by William Blake, 1757–1827, British, 1793, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 5 1/2 inches

Cupid and Psyche, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17 5/16 × 12 1/8 inches (44 ×

Ehrenbreitstein, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, with cream chine colle,

Children on the Sea Shore, Print made by John Henry Robinson, 1796–1871, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

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

Hogarth Painting the Comic Muse, Print made by William Hogarth, 1697–1764, British, 1764, Line engraving on moderately thick, slightly textured, cream laid paper, Sheet: 16 x 14 inches (40.6 x 35.6 cm), Plate: 15 7/8 x 13 7/8 inches (40.3

Blackwell's Military Figures, Plate II, Halberd Men, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1809, Engraving

The Rhine - Osterspey and Feltzen, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1852, Etching and engraving; first published state on medium, slightly textured, cream

Sir Henry Clinton, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Smart, 1741–1811, British, 1780, Stipple engraving on thin, smooth, cream laid paper, laid on contemporary mount

Hornsey, George Cooke, 1781–1834, British, Sir Augustus Wall Callcott, 1779–1844, British, 1826, Engraving

6. The Death of the Fox / Mort du Renard, 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

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

Kew: The White House from the Lawn, James Mason, 1710–1783, British, after William Woollett, 1735–1785, British, c. 1764, Hand colored engraving, Plate: 14 1/2 x 21 1/4in. (36.8 x 54cm

Light Towers of the Heve, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

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

Earl Rivers Presenting His Book and Caxton, His Printer, to Edward IV, Charles Grignion, 1717–1810, British, or Charles Grignion, 1754–1804, British, after unknown artist, undated, Etching and line engraving on moderately thick,

Saltash, Cornwall, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 3/4 × 14 3/4

Tempest, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, 1821, Engraving on medium, smooth, cream wove paper, Sheet: 11 x 7 1/2 inches (27.9 x 19.1 cm), Plate: 10 x 7 3/8 inches (25.4 x 18.7 cm), and

Master Philip Yorke, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1788, Stipple engraving on moderately thick, moderately textured, cream

Self-portrait, William Hogarth, 1697–1764, British, 1749, Etching and engraving on laid paper, Sheet: 15 7/8 x 11in. (40.3 x 27.9cm

Chateau Gaillard, from the South, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Andreas Quirino, Senator Venetus, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1794, Engraving

Reverend Beilby Porteus, Lord Bishop of London, Charles Picart, c.1780–1837, British, after Henry Edridge, 1769–1821, British, 1809, Stipple engraving and line engraving on moderately thick, moderately textured, cream, wove paper,

The Excise Office, Thomas Higham, 1796–1844, British, after Thomas Higham, 1796–1844, British, 1816, Engraving

Sidon, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Engraving

Folkstone, Kent, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1825, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with

Covent Garden about 1578, unknown artist, nineteenth century, after Ralph Aggas, 1540?–1621, 1809, Engraving, Sheet: 8 1/8 x 10 1/2in. (20.6 x 26.7cm

The Mew Stone. Entrance of Plymouth Sound, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1815, Etching and engraving on thick, moderately textured, cream, wove paper, with chine

Lillebourne Chateau, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, and etching, engraver's proof (early

The New Mint, with part of the Tower, and Tower Hill, George Hawkins, active 1795–1810, British, after Jacob C. Schnebbelie, 1760–1792, British, 1810, Engraving

North View of Queen Elizabeth's Free Grammar School, Bartholomew Howlett, 1767–1827, British, after Jacob C. Schnebbelie, 1760–1792, British, 1815, Engraving

Thomas Cranmer, Pieter S. van der Gunst, 1659–c. 1724, after Adriaan van der Werff, 1659–1722, Dutch, undated, Line engraving on thick, moderately textured, cream, laid paper, Sheet: 11 15/16 × 7 5/16 inches (30.3 × 18.6 cm) and

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 3/4 inches (8.7 x 17.1 cm), botanical subject,

Palamedes Palamedessen, 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 engraving on medium, slightly textured,

Thomas Philip third Lord Grantham, afterwards Earl De Grey, with his brothers, Frederick John and Philip, Print made by Thomas Cheesman, 1760–1834/35, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1791, Stipple engraving

Mrs. Abington as Thalia, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, ca. 1783, Etching and stipple engraving, with hand colored ink on medium,

The Garden, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

A West View of Chelsea Bridge, John Lodge, active 1782–1796, after unknown artist, ( Z. Bareman ), undated, Engraving, Sheet: 10 3/16 x 16 3/8in. (25.9 x 41.6cm

Her Royal Highness the Princess Royal, Print made by Peltro W. Tomkins, 1760–1840, British, after Johann Heinrich Ramberg, 1763–1840, German, active in Britain (1781–88), Published by Francis Jukes, 1747–1812, British, 1801,

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

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

William Chiffinch, Print made by R. Clamp, fl.1789–1798, after Sylvester Harding, 1745–1809, British, 1795, Stipple engraving on medium, slightly textured, cream wove paper

Hampstead, John Greig, active 1800–1853, British, after John Greig, active 1800–1853, British, 1805, Engraving

Moss Dale Fall, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with

Cripplegate Ward with its Divisions into Parishes, Benjamin Cole, 1697–1783, British, after unknown artist, 1755, Engraving

Plate V: A Perspective View of a Scutch Mill, with the Method of Breakng the Flax with groved Rollers, and Scutching it with Blades first on a Shaft, both turn'd by the Main Wheel, Great Improvements in the Method of Braking and Scutching of

Lambeth Palace, William Bernard Cooke, 1778–1855, British, Samuel Owen, 1768–1857, British, 1810, Engraving

Ariadne, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), Published June 27, 1782, Line engraving, portrait

Guillaume Laud, Print made by Benoit Audran, 1661–1721, French, after Adriaan van der Werff, 1659–1722, Dutch, undated, Etching and line engraving on medium, slightly textured, beige laid paper, Sheet: 14 7/16 x 9 7/16 inches (36.7 x

The Stone Bow, Lincoln, Frederick James Havell, 1801–1840, British, after Thomas Allom, 1804–1872, British, Published by Fisher, Son & Co., active 1821–1848, British, 1836, Etching with stipple engraving on moderately thick,

Megg's Almshouses. Repaired, Improved, and further Endowed by Benjamin Goodwin, Print made by Thomas Cook, 1744–1818, British, after Robert Bremmel Schnebbelie, active 1803–1849, Published by Robert Wilkinson, 1758–1825, British,

Prospect of Guildhall, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Plate II: View taken near Hillsborough in the County of Downe, Representing Pulling the Flax when grown, Stooking or putting it up to Dry, Ripling or saving the Seed, and Boging or burying it in Water., William Hincks, 1752–1797, after

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

Datur Hora Quieti, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, Early Final Proof on moderately thick, moderately textured, beige, wove paper, with beige,

King Henry VIII with Will Somer, Edward VI, Mary I, and Elizabeth I, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland

Orford, Suffolk, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving and etching, 2nd state on moderately thick, slightly textured, cream, wove paper, with cream, chine

A View at Lewisham in Kent, unknown artist, eighteenth century, after unknown artist, 1770, Hand colored engraving, Sheet: 6 7/8 x 10 7/8in. (17.5 x 27.6cm

The Elect, Conrad Martin Metz, 1749–1827, German, after Michelangelo, 1474/1475–1564, Italian, 1801, Stipple engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 11 1/4 × 25 7/8 inches (28.6 × 65.7 cm),

Loch Leven Castle, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1844, Line engraving

An East Prospect of Westminster Abby, John June, active 1740–1770, after John Maurer, active 1713–1761, 1752, Engraving

Female Curiosity, Print made by Thomas Ryder, 1746–1810, Irish, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly textured,

Meekness, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1783, Engraving

Edward, Prince of Wales, Presenting the Captive King John of France and His Sons to His Father Edward the third after the Battle of Poictiers, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after

New Abbey, near Dumfries, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving

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

Philoctetes in the Island of Lemnos, James Barry, 1741–1806, Irish, 1777, Engraving, Plate: 8 x 14 1/2in. (20.3 x 36.8cm) and Sheet: 15 15/16 x 19 1/4in. (40.5 x 48.9cm), arrows, bandage, birth, coast, religious and mythological subject,

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

Wickham from the Marlow Road, Print made by William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, Published by William Byrne, 1743–1805, British, 1803, Etching and line engraving

Sir John Borlase Warren, James Fittler, 1758–1835, British, after Mark Oates, c. 1750–1821, British, 1799, Line engraving, Sheet: 12 1/4 x 17 1/2in. (31.1 x 44.5cm

The Fall of the Rebel Angels, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first published state, Plate: 8 7/16 x 5 7/8in. (21.5 x 14.9cm

The Library, Grove Hill, unknown artist, nineteenth century, after unknown artist, undated, Engraving, Sheet: 4 x 5 3/4in. (10.2 x 14.6cm

Chingford Church, Essex, Outer Suburb - East, James S. Storer, 1771–1853, British, after George Shepherd, active 1782–1830, 1804, Engraving

View near Black Friars Bridge, Valentine Green, 1739–1813, British, And Francis Jukes, 1747–1812, British, after William Marlow, 1740–1813, British, 1777, Hand colored engraving

Four Subjects, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, etching, stipple engraving and color woodcut on moderately thick, smooth, cream wove paper, Image: 4 5/16 x 3 1/4 inches (11 x 8.2 cm),

Scenographia Americana: A Southwest View of the City of New York, in North America, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after drawings by Thomas Howdell, active ca. 1768, British, 1758-1760, Colored engraving,

Shrimps!, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hogarth, 1697–1764, British, 1782, Engraving

The Field of Waterloo from Hougoumont, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, third state on medium, slightly textured, beige, wove paper, with

Llandberis Lake, Wales, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving on thick, slightly textured, beige, wove paper, Sheet: 10 1/2 × 14 3/4 inches (26.7

William Beckford, Esquire, Twice Lord Mayor of London, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Agostino Carlini RA, ca. 1718–1790, Italian, active in England, 1772, Engraving

Berwick-on-Tweed, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-coll

The Right Honable William Pitt, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Singleton Copley, 1738–1815, American, active in Britain (from 1776), 1789, Engraving

Lionel Cranfield Sackville, 1st Duke of Dorset, George Vertue, 1684–1756, British, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1732, Stipple and line engraving on moderately thick, moderately textured,

Rasselas', A Case by Samuel Johnson, James Neagle, 1760–1822, British, after unknown artist, undated, Engraving, Sheet: 17 x 12in. (43.2 x 30.5cm

The Last Man (vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

The Elevation of the Alms-Houses Endowed by Sir Andrew Judd Knight, Great St. Helen's Bishopsgate within London, Print made by Maddocks, active 1825, after Robert Bremmel Schnebbelie, active 1803–1849, Published by Robert Wilkinson,

Funeral of Lord Nelson. From the Bankside near Shakespeare's Theatre, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1806, Engraving

Joannes Snellincx, Pictor Humanarum Figurarum Antuerpiæ, 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, Engraving and etching on

Here's Dada Coming. My Pretty Dada. Shoulder Arms. What Pretty Things., Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, stipple engraving, etching and color woodcut on moderately thick, smooth, cream wove

A River (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,

The Celebrated Victory ... on the Glorious First of June 1794, Print made by Daniel Orme, 1766–1837, British, after Mather Brown, 1761–1831, American, active in Britain, Published by Daniel Orme, 1766–1837, British, 1795,

Racing: Sedbury was for the justness of Shape the most Beautiful and ...the Best Horse of His Size at that time, James Seymour, 1702–1752, British, c. 1745, Engraving, Sheet: 14 1/4 x 17 3/4in. (36.2 x 45.1cm

Aske Hall, John Scott, 1774–1828, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving, engraver's proof on thick, moderately textured, cream, wove paper, Sheet: 13 1/16 × 19 7/16 inches (33.2

Plate 41 (page 92): 'When faith is virtue, reason makes it so', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

The Campagna of Rome, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving with graphite; engraver's proof on medium, slightly textured, cream laid

The Judgement Seat, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17 5/16 × 12 1/16 inches (44 ×

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

Carlisle, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and line engraving; second state on medium, slightly textured, cream wove paper with chine-coll

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