Images at Librifly

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Hermitage Castle, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper

Clarissimus Vir Casp Gevartius I.C. Antuerpiæ, Graphiarius, Etc., Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Engraving and etching

Mercury and Argus, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1841, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with

Young's Night Thoughts, Page 17, 'Night the Second, on Time, Death and Friendship', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Tett, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, c. 1790, Hand colored engraving

Cupid and Cephisa: 'Cephisa says, we ought to cut the Wings of Love...', Print made by Thomas Burke, 1749–1815, British, after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), Published by Thomas Burke,

Lot and His Family, Print made by John Alexander, active 1715–1752, British, after Raphael, Italian, 1483–1520, Italian, ca. 1718, Line engraving and etching on moderately thick, moderately textured, cream laid paper, Sheet: 11 5/16 x

Tomb of Cecilia Metella, Rome, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, first published state on moderately thick, slightly textured, beige, wove

Seat of the Rt. Hon. Welbore Ellis, at Twickenham in Middlesex, William Watts, 1752–1851, British, after William Watts, 1752–1851, British, 1782, Engraving

Miss Anna Brunton, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, 1785, Stipple engraving and etching on medium, smooth, cream wove paper, Sheet: 5

William Canynges, Isaac Jehner, 1750–c.1806, British, after unknown artist, undated, Stipple engraving and etching on medium, slightly textured, cream laid paper, Sheet: 7 3/4 × 7 1/2 inches (19.7 × 19.1 cm), hands, man, mayor,

Interior of the Church of St. Barts the Great, John Greig, active 1800–1853, British, after Frederick Nash, 1782–1856, British, 1805, Engraving, Sheet: 9 3/4 x 7 3/16in. (24.8 x 18.3cm

Ruins Discovered at the Corner of Whitcomb Street 1821, unknown artist, ( Banks ), after unknown artist, ( Banks ), 1822, Engraving, Sheet: 13 11/16 x 11 5/8in. (34.8 x 29.5cm

Shakespeare, King Lear, Act I, Scene I, Richard Earlom, 1743–1822, British, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1803, Engraving on wove paper, laid down on card, Plate: 19 3/8 x 25in. (49.2

Egglestone Abbey, near Barnard Castle, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, with

Part of Chester Castle, William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, 1803-1810, Line engraving, published state

Rocket Practice in the Marshes, John Grant, Died 1873, Published by John Grant, Died 1873, 1845, Aquatint with stipple engraving, hand-colored on moderately thick, slightly textured, beige wove paper, Sheet: 13 7/8 x 17 11/16 inches (35.3 x

Campden House at Kensington, Samuel Lysons, 1763–1819, British, after Daniel Lysons, 1762–1834, British, 1811, Engraving

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

The New Mint Tower Hill, Samuel Rawle, 1771–1860, British, after Samuel Rawle, 1771–1860, British, 1810, Engraving

Designs for the Great Room of the Society of Arts (4 of 1 sheet), James Mitan, 1776–1822, British, after James Barry, 1741–1806, Irish, 1808, Engraving, Sheet: 5 x 9in. (12.7 x 22.9cm

D. Kenelmus Digbi Eques, Robert van Voerst, 1597–1636, Dutch, active in Britain (from 1627), after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving and stipple

The Death of Nelson, Print made by James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, between 1859 and 1879, Steel engraving, historical subject, marine art

A Woman (as ? Venus) with two Cherubs, 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

The Landing of Columbus, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with gray, chine colle, Sheet: 17 1/8

House of Commons and the Entrance to the House of Lords with the Office of Ordnance, Print made by Charles Grignion, 1717–1810, British, after Samuel Wale RA, 1721–1786, British, undated, Engraving with graphite on slightly textured,

Examples of Ceremonial Dress of Soldiers, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Lochiel's Warning, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

Rochester, Stroud, and Chatham, Medway, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

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 (early

The Daughters of Guercino, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Guercino, 1591–1666, Italian, 1772, Soft-ground etching and stipple engraving in red ink on moderately

Balmoral Castle, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Etching, stipple engraving, and color woodcut on moderately thick, smooth, cream wove paper, Sheet: 10 1/4 x 7 3/8 inches (26 x 18.8 cm) and Image: 3

A Perspective of the Engine made use of for Sawing off under water, Paul Fourdrinier, French, after Charles Labelye, 1705–1781, British, 1745, Engraving, Sheet: 18 x 13 1/2in. (45.7 x 34.3cm

Samuel Johnson, Thomas Trotter, ca. 1750–1803, British, after unknown artist, undated, Engraving, Sheet: 7 x 4in. (17.8 x 10.2cm

Lake of Albano, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Etching and line engraving, 1st state on medium, slightly textured, cream, wove paper, with tan chine

5. Coming at the Death / Halte de Chasse, 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

The Elevation of the Royal Exchange, Henry Hulsberg, died 1729, Netherlandish, active in London, after unknown artist, ( Charles Campbell ), undated, Engraving

Bring Out Your Dead, Print made by Edmund Evans, 1826–1905, British, 1864, Color-printed wood engraving on medium, smooth, cream wove paper

Young's Night Thoughts, Page 90, 'That Touch, with Charm Celestial Heals the Soul', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Munich, Print made by Edward John Roberts, 1793–1865, British, after Robert Batty, 1789–1848, British, Published by Rodwell & Martin, active 1819–1835, British, 1821, Etching and line engraving on medium, slightly textured, cream

Pembroke Castle, Wales, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, Sheet: 10 5/8 × 14

Ramah and Rachel's Tomb, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, first published state

Illustration for 'Russell', Ode from the Spanish, Print made by Robert Mitchell Meadows, Died before 1812, British, after Richard Westall, 1765–1836, British, 1807, Line engraving on medium, slightly textured, cream wove paper

Sir Henry Englefield, William Evans, active 1797–1856, British, after Edward Scott, 19th century, undated, Stipple engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 10 1/16 × 7 3/8 inches (25.6 × 18.7 cm),

Launceston, Cornwall, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Ensete 1789, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Hand colored engraving

Near Ranelagh, Chelsea, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1797, Engraving, Sheet: 4 1/2 x 4 3/4in. (11.4 x 12.1cm

The North Prospect of Westminster Abbey, Print made by John Collins, active ca. 1682, between 1680 and 1710, Line engraving on slightly textured, medium, white wove paper, Sheet: 20 1/2 × 28 1/4 inches (52.1 × 71.8 cm), Plate: 19 1/2 × 27

Traitor's Gate, Tower of London, 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 cream, chine colle,

Guild Hall, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

A Horse Affrighted by a Lion, Print made by George Stubbs, 1724–1806, British, 1777, Etching and line engraving on medium, slightly textured, cream laid paper, Sheet: 14 3/4 x 19 inches (37.5 x 48.3 cm) and Image: 13 1/2 x 18 1/8 inches

Paestum (vignette), Print made by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper

George Villiers, 1st Duke of Buckingham, Ch. Imonneau, after Adriaan van der Werff, 1659–1722, Dutch, undated, Engraving on medium, slightly textured, blued white, laid paper, Sheet: 12 5/8 × 7 1/2 inches (32.1 × 19.1 cm), Plate: 12

The Enraged Musician, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1806, Etching and line engraving on medium, slightly textured, cream

The Attack of Two Bastions, the Breaches being Made by the Miner, Remi Parr, active 1723–1750, British, after Jacques Rigaud, 1681–1754, French, 1760 to 1770, Hand-colored engraving on wove paper, Sheet: 12 1/2 x 18in. (31.8 x 45.7cm),

N. W. Aspect of Lackington, Allen & Co.'s Temple of the Muses, Finsbury Square, Thomas Tagg, died 1809, British, after unknown artist, 1789, Engraving

Mercury and Argus, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1841, Etching and line engraving; fourth state on moderately thick, slightly textured, cream wove paper,

South East View of Netley Abbey, Near Southampton, James Mason, 1710–1783, British, And: William Henry Toms, ca. 1700–ca. 1750, British, after William Bellers, active 1761–1774, 1755, Engraving, Sheet: 15 1/2 x 21in. (39.4 x 53.3cm

London Horse and Carriage Repository, Gray's Inn Road, William Deeble, active 1814–1849, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1822, Engraving

Diana the Huntress, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Antonio Domenico Gabbiani, 1652–1726, Italian, 1783, Engraving

Manasses, 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

Summer Eve - The Rainbow, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

A View of the East-India House, Leadenhall Street, London, unknown artist, after unknown artist, 1802, Hand colored engraving

Analysis of Beauty, Plate II: A Country Dance, William Hogarth, 1697–1764, British, 1753, Engraving, Sheet: 14 1/4 x 19 3/8in. (36.2 x 49.2cm

The Gift of Neptune, or Britain's Bulwark, Print made by Charles Grignion, 1717–1810, British, after Samuel Wale RA, 1721–1786, British, 1771, Line engraving on medium, slightly textured, cream laid paper

Young's Night Thoughts, Page 31, ''Tis Greatly Wise to Talk with Our Past Hours', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Keswick Lake, Cumberland, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

John Casper Lavater, Minister of St. Peters in Zurich, after William Ridley, 1764–1838, British, after unknown artist, 1805, Engraving

A South View of the Cities of London and Westminster, taken from Denmark Hill near Camberwell, Daniel Lerpiniere, c.1745–1785, British, after George Robertson, 1749–1788, British, 1779, Engraving

Design of a Ruineous Bridge for the Garden at Sion, Thomas Vivares, c.1735–c.1790, British, after Robert Adam, 1728–1792, British, 1778, Line engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 18 7/8 × 24

Mr. Alderman Curtis's Southgate Outer Suburb - North, James Peller Malcolm, 1767–1815, American, 1797, Engraving

Dartmouth, Devon, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Line engraving and etching, engraver's proof, touched on moderately thick, slightly textured, cream,

The West Window of the Chapel, New College Oxford:, Richard Earlom, 1743–1822, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1785, Stipple engraving on thick, moderately textured, cream, laid ppaer, Sheet: 26 1/16 × 19

Vol. 6, Plate XXXVI: Continuation of the Acts of the Maccabees. The Battle of Judas Maccabeus with Timotheus and the Fall of Maspha., Print made by James Basire, 1769–1822, British, after Charles Alfred Stothard, 1786–1821, British, 1842,

The Crypt of the Nunnery of St. Helen, William Wise, Active 1823–1876, British, after William Capon, 1757–1827, British, 1817, Engraving, Sheet: 10 1/4 x 12 3/4in. (26 x 32.4cm

St. Agatha's Abbey, Print made by John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, c.1844, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Malta, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on moderately thick, slightly textured, beige, wove paper, Sheet: 11 11/16 × 16

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

John Smith, Writing Master in London, William Faithorne, 1656–ca. 1701, British, after John Vanderbank, 1694–1739, British, undated, Line engraving on medium, slightly textured, cream, laid paper, Sheet: 12 3/4 × 8 3/4 inches (32.4

Vol. 6, Plate XXXVII: The Coronation of Edward the Confessor. Warriors Flying for Refuge into a City., Print made by James Basire, 1769–1822, British, after Charles Alfred Stothard, 1786–1821, British, 1842, Hand colored engraving on

King's Arms Tavern, Cornhill, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 5 x 7 7/8in. (12.7 x 20cm

Catherine II Empress of Russia, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Michele Benedetti, 1745–1810, Italian, 1785, Line engraving, portrait

Fox-hunting Two Hunters / Belonging to Henry U. Reay of Burn Hall in the County of Durham ...., George Townly Stubbs, 1748–1815, British, after George Stubbs, 1724–1806, British, 1792, Stipple engraving, Sheet: 13 1/2 x 18 11/16in. (34.3

St. Anne's Hill, No. II, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving and etching, 1st state on medium, slightly textured, beige wove paper, Sheet: 11 5/8 × 6 5/16

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

Rouen, from Mont Sainte Catherine, Print made by Charles Heath, 1785–1848, British, drawn by Robert Batty, 1789–1848, British, Published by Rodwell & Martin, active 1819–1835, British, 1820, Line engraving on medium, slightly

The Lake of Geneva, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1829, Etching and line engraving on medium, slightly textured, cream wove paper with chine-collé, Sheet: 17

A View of the New Bridge Over the Thames at Walton in Surrey, Anthony Walker, 1726–1765, British, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), 1750, Colored engraving on medium, slightly textured, blued white,

Panthei Fidelissime Dimensi Exterior et Interior, Print made by unknown artist, sixteenth century, Published by Giovanni Orlandi, active 1590–1640, Italian, Published by Antonio Lafreri, 1512–1577, French, 1553, Etching and line

Charity, George Siegmund Facius, 1750–1804, And: Johann G. Facius, 1750–after 1802, German, after Sir Joshua Reynolds RA, 1723–1792, British, 1781, Stipple engraving, Sheet: 18 1/2 x 12in. (47 x 30.5cm

Duke William's Ghost, James Gillray, 1757–1815, British, 1799, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Lady Elizabeth Grey's Interview with Edward IV, Print made by Anker Smith, 1759–1819, British, after Robert Smirke, 1752–1845, British, Published by Nuttall, Fisher & Dixon, active 1818, British, 1816, Line engraving on thin,

Henry Bunbury, Esq., Thomas Ryder, 1746–1810, Irish, after Sir Thomas Lawrence, 1769–1830, British, 1789, Stipple engraving

Chryseis restored to her Father, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1786, Engraving

Prague - Kosciusko, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

Lord Morpeth, Thomas Trotter, ca. 1750–1803, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1787, Stipple engraving and line engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 15 13/16 × 11 1/4

Ehrenbreitstein, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with gray, chine colle, Sheet: 11

View of Voltaire's Chateau at Ferney, from the Garden, Published by John Sewell, active 1735–1802, British, 1786, Line engraving on medium, slightly 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: 8 1/2 x 5 1/2in. (21.6 x 14cm

Tivoli, Print made by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

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