Images at Librifly

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Sawney in the Bog-House, James Gillray, 1757–1815, British, 1779, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Paul Sandby, D. P. Pariset, born 1740, active in Britain from 1767, French, after Pierre-Etienne Falconet, 1741–1791, French, 1769, Stipple engraving, Sheet: 8 1/2 x 5 3/4in. (21.6 x 14.6cm

Skiddaw, 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

Pendennis Castle and Entrance of Falmouth Harbour, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching, graphite, and line engraving, touched proof on thick, slighlty textured,

A Perspective View of London's Bunn House at Chelsey, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 8 1/8 x 14 3/4in. (20.6 x 37.5cm

Thoughts on Matrimony, Print made by William Ward, 1766–1826, British, after John Raphael Smith, 1752–1812, British, 1786, Stipple engraving on moderately thick, moderately textured, cream laid paper, Sheet: 12 7/16 × 9 3/16 inches

The Right Hon. Gustavus Lord Viscount Boyne &c, Print made by A. M. Ireland, active before 1801, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, before 1800, Etching and stipple

Mary Queen of Scots, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Isaac Oliver, ca. 1565–1617, French, active in Britain, 1738, Line engraving on medium, slightly textured, cream laid paper

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,

Canal of the Loire and Cher, near Tours, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof on moderately thick, smooth, cream, wove paper, with

The Right Honourable Lady Charlotte Duncombe, Print made by Charles Wilkin, 1750–1814, British, after John Hoppner, 1758–1810, British, 1797, Stipple engraving on moderately thick, slightly textured, cream wove paper, Sheet: 16 5/16 ×

Jedburgh Abbey, Print made by Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

La Chaise de Gargantua near Duclair, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

A View Taken near Mr. Smith's House at Battersea, Looking up the Thames, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1752, Engraving on Moderately textured, moderately thick, white wove paper, Sheet: 13

A Perspective View of the Foundling Hospital with Emblematic Figures, Charles Grignion, 1717–1810, British, And Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Samuel Wale RA, 1721–1786, British, 1749,

Young's Night Thoughts, Page 35, 'Teaching, We Learn; and Giving, We Retain', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Set of twelve: 4 Fox Huntings. 4 Stag Huntings. 4 Hare Huntings, James Seymour, 1702–1752, British, after John Wootton, 1682–1764, British, c. 1750, Hand colored engraving, Sheet: 6 7/8 x 10 5/8in. (17.5 x 27cm

The Rhymer's Glen (Vignette), William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Turnips and Carrots ho, Print made by Thomas Gaugain, 1748–1812, French, after Francis Wheatley, 1747–1801, British, 1797, Stipple engraving printed in color, Sheet: 17 11/16 x 13 3/4in. (44.9 x 34.9cm) and Plate: 16 1/4 x 12 13/16in.

William Kieft Introducing a New Mode of Punishment for Beggars & c., Print made by John Romney, 1786–1863, British, after Charles Robert Leslie, 1794–1859, British, 1823, Line engraving on medium, slightly textured, cream laid paper

Exeter, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1819-1826, Line engraving, 1st state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle,

Ludlow Castle, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 5/8 × 14 5/8

Specimens of Beaver's Military Punishments, 1725, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1809, Etching and line engraving on medium,

`Queen's return from the House of Lords', Benjamin Read, active 1820s–1840s, 1839, Engraving with aquatint, hand-colored, Sheet: 17 x 23in. (43.2 x 58.4cm

St. Agatha's Abbey, 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-coll

Mother and Child, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1795, Engraving

Entrance of the Meuse-Orange Merchantman, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Pont de l'Arche, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etchiing and engraving, engraver's proof, touched

A View of the Flower Gardens of Seaux & of ye great Canal at a Distance, John Tinney, died 1761, British, after unknown artist, undated, Hand-colored engraving on wove paper, Sheet: 60 1/2in. (153.7cm), canal, flowers, fountains, gardens,

Illustrations for 'Gil Blas', plate X, after Thomas Stothard, 1755–1834, British, 1781, Line engraving on medium, slightly textured, cream wove paper

Strolling Actresses Dressing in a Barn, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1738, Etching with line engraving, Sheet: 17 5/8 × 22 3/8 inches (44.8 × 56.8 cm

Sir Henry Vane the Younger, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1742, Line engraving on medium, slightly textured, cream laid paper

The Monument in Westminster Abbey of King Henry V, George Vertue, 1684–1756, British, after Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), between 1699-1756, Engraving on medium smooth laid paper, Sheet: 14

View on the Seine, between Mantes and Vernon, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

The Rotunda, Bank of England, Print made by John S. Shury, active 1818–1848, after Thomas Hosmer Shepherd, 1792–1864, British, 1844, Line engraving on medium, slightly textured, cream wove paper

John Milton, Print made by John Vandergucht, born 1697–possibly died 1732, British, undated, Engraving on medium, slightly textured, cream laid paper

Sidney Godolphin, first Earl of Godolphin, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), ca. 1740, Line engraving on medium, slightly textured, cream

At Rome, 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, undated, Etching and

'King Lear', Act V, Scene III, Francis Legat, 1755–1809, British, after James Barry, 1741–1806, Irish, 1792, Engraving on thick, moderately textured, cream, wove paper, Sheet: 21 13/16 × 28 inches (55.4 × 71.1 cm), Plate: 19 7/16

William Shakespeare, Print made by George Vertue, 1684–1756, British, 1719, Line engraving on medium, slightly textured, cream wove paper

Lulworth Cove, Dorsetshire, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814, Line engraving and etching, first published state on thick, smooth, beige, wove paper, with cream,

D. Petrus Paulus Rubbens Eques, Regi Catolico in Sanctiore Consilio a Secretis ævi Sui Apelles Antuerpiæ, Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34;

Head of Diana, Print made by Samuel Ireland, active 1760–died 1800, British, after William Hogarth, 1697–1764, British, 1785, Etching and stipple engraving on medium, slightly textured, cream wove paper

Section of the Canja, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

At Deptford with part of the town, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after T. & I. Milton, 18th century, 1753, Color engraving

Crosby Place, A. Birrell, ca.1770–ca. 1820, British, after Thomas Thornton, active 1778–1785, 1790, Engraving, Sheet: 4 1/2 x 6 7/8in. (11.4 x 17.5cm

Kew Chapel, Joseph Nutting, active 1700, British, after unknown artist, undated, Engraving

St. Matthew's Church, Kennington, Lambeth, Robert Havell, 1769–1832, British, after unknown artist, undated, Engraving

St. Bennet (i.e. St. Benedict) Pauls Wharf, J. W. White, active 1810, after William Pearson, 1772–1849, British, 1810, Engraving, Sheet: 12 x 9 1/4in. (30.5 x 23.5cm

Ladies Dress, as it soon will be, James Gillray, 1757–1815, British, 1796, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

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

Marche aux Fleurs and Pont-au-Change, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Scene on the Loire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Royal Masquerade, or, the European Plotters discovered and defeated and the Ex-Princes Crost in their Masked design against Liberty, (?) William Dent, active 1784–1793, 1792, Line engraving with watercolor on laid paper, Sheet: 9 1/4 x 15

St. Dunstans Stepney, Print made by Thomas Dale, active ca. 1921, British, after George Shepherd, active 1782–1830, 1818, Line engraving on medium, slightly textured, cream wove paper

Celadon and Amelia, Print made by William Woollett, 1735–1785, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1766, Line engraving and etching on moderately thick, moderately textured, cream wove

William II, Prince of Orange, Print made by Ludwig von Siegen, 1609–c.1680, German, after Gerard van Honthorst, 1590–1656, Dutch, active in Britain in 1628, 1644, Mezzotint and line engraving on medium, slightly textured, cream laid

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

Temple of Jupiter Panhellenius, Aegina, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Petworth Park, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Rome, Tomb of Cecilia Metella, John Byrne, 1796–1847, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and engraving on thick, slightly textured, cream, wove paper, with cream, chine colle,

The Sailor's Wife, William S. Leney, 1769–1831, British, after Emma Crew, active 1783, British, 1793, Colored stipple engraving, Sheet: 9 5/8 x 7 5/8in. (24.4 x 19.4cm

Inside of the Chapel of the Foundling Hospital, John Sanders, 1768–1826, British, after John Sanders, 1768–1826, British, 1774, Engraving

Portraits of the Royal Academicians, Charles Bestland, 1763–ca. 1837, British, after Henry Singleton, 1766–1839, British, 1802, Stipple engraving, Sheet: 25 3/4 x 31 7/8in. (65.4 x 81cm

Wandsworth Reach, Thomas Preist, active 1740-1750, British, after Thomas Preist, active 1740-1750, British, 1738, Engraving, Sheet: 10 x 14 1/8in. (25.4 x 35.9cm

View of London from Camberwell Green, William Knight, active 1807–1845, after Edward Dayes, 1763–1804, British, 1797, Engraving, Sheet: 8 7/8 x 11 3/8in. (22.5 x 28.9cm

Young's Night Thoughts, Page 41, 'One Radiant Mark; the Deathbed of the Just', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Diligene and Dissipation: The Good Girl Receives the Honourable Addresses of her Master (Plate 8), Print made by Thomas Gaugain, 1748–1812, French, and Thomas Hellyer, active 1800, British, after James Northcote, 1746–1831, British,

Corfe Castle, Dorsetshire, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and engraving on moderatel thick, slightly textured, cream, wove paper, Sheet: 11 7/8 × 17 3/4

Plymouth Dock, from Mount Edgecumbe, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Engraving and etching on moderately thick, slightly textured, cream, wove paper, Sheet: 11 5/16

The Injured Countess, James Gillray, 1757–1815, British, 1786-1788, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Shakespeare's Monument at the Church at Stratford upon Avon, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

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

Henry VII, William Marshall, fl. 1617–1649, after Renold Elstrack, 1570–1625(?), British, after 1618, Line engraving on medium, slightly textured, cream laid paper, Sheet: 8 7/8 x 5 7/8 inches (22.5 x 14.9 cm), Plate: 6 3/4 x 4 11/16

Hotel de Ville, Paris (Vignette), William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and line engraving

Lake of Albano, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, engraver's proof on moderately thick, slightly textured, beige wove paper with cream

Miss Farren, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), and Charles Knight, 1743–c.1826, British, after Sir Thomas Lawrence, 1769–1830, British, Published by Bull & Jeffryes, active

Insula Tiberina, Print made by Etienne Dupérac, ca. 1535–1604, French, Published by Pietro de Nobili, active 1582, Italian, Published by Pauli Gratiani, active 1582, Italian, Published by Antonio Lafreri, 1512–1577, French, 1582,

Lancaster, from the Aqueduct Bridge, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper,

The Triumphal Arches, Mr. Handel's Statue & c. in the South Walk of Vauxhall Gardens, John S. Muller, ca. 1715–1792, German, active in Britain, after Samuel Wale RA, 1721–1786, British, after 1751, Etching and engraving, hand colored,

Rokeby, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, 1813, Etching and line engraving on chine collé laid down on wove paper., Image: 4 3/4 x 3 1/2in. (12.1 x 8.9cm) and Sheet: 17 x 11 1/2in. (43.2 x

Book of Job, Plate 4, The Messengers Tell Job of His Misfortunes, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 × 10 3/4 inches (38.1 × 27.3 cm), Plate: 8 1/2 × 6 5/8

Hammersmith Church, H. Summons, active 1812, G. Lynn, early 19th century, 1812, Engraving

Studies for the Instruction of Painters, two suites. Rome, c. 1630, Print made by Oliverio Gatti, 1568–1651, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Giacomo de Rossi, 1627–1691, Italian, undated,

Apollo and the Muses, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1789, Colored engraving, Sheet: 22 x 26 1/2in. (55.9 x 67.3cm

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

Margate, Kent, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, (Completed Engraver's Proof

A View of Plymouth Fort and St. Nicholas Island, James Mason, 1710–1783, British, after Samuel Scott, 1701/2–1772, British, after George Lambert, 1700–1765, British, undated, Colored engraving on thidk, moderatley textured, cream,

A View of London and Westminster from the Prince's Head, Battersea, Thomas Morris, active 1771–1794, after George Samuel, active 1785–died 1823, British, 1787, Engraving on slightly textured, medium, white wove paper, Sheet: 4 7/16 ×

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, cream, wove paper, mounted on

Title Page to James Howell, Epistolae Ho Elianae: Familiar Letters, Domestic & Forren, Print made by William Marshall, fl. 1617–1649, 1645, Line engraving on medium, slightly textured, cream wove paper

Maria Ruten, Schelte A. Bolswert, 1586–1659, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1630-1645, Stipple engraving and line engraving on medium, slightly textured,

Wynn Stay in Denbighshire, the Seat of Sir Watkin Williams Wynn Bart, Print made by Michael 'Angelo' Rooker, 1746–1801, British, after Paul Sandby RA, 1731–1809, British, Published by George Kearsley, 1758–1813, British, 1775,

Marriage à la Mode, Plate 5, Print made by Simon Francois Ravenet, 1721–1774, French, active in Britain, After William Hogarth, 1697–1764, British, 1745, Etching with line engraving, Sheet: 15 1/8 × 18 3/8 inches (38.4 × 46.7 cm

Mary Elizabeth, Countess Grey, with Her Two Children, Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, 1831, Mezzotint, line engraving, and stipple engraving on thick, slightly

Troyes, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Christmas (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, blued white wove

Oxford from North Hinksey, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1841, Etching and line engraving; first published state on moderately thick, slightly textured, cream

King John Ratifying the Magna Charta, William Wynne Ryland, 1732–1783, British, after John Hamilton Mortimer, 1740–1779, British, ca. 1783, Stipple engraving, engraver's proof, Sheet: 18 5/16 x 23 5/8in. (46.5 x 60cm

Covent Garden, Piazza, Edward Rooker, 1724–1774, British, after Thomas Sandby RA, 1721–1798, British, 1777, Engraving, Sheet: 16 7/16 x 21 7/8in. (41.8 x 55.6cm

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