Images at Librifly

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Mrs. Ann Richmond, William Holl, 1807–1871, British, after George Richmond, 1809–1896, British, And after Thomas Richmond, 1802–1874, British, 1880, Stipple engraving, Sheet: 8 x 6in. (20.3 x 15.2cm

Heysham and Cumberland Mountains, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving and etching on medium, slightly textured, cream, laid paper, Sheet: 10 11/16 × 14 3/4

Portrait of a Man, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

New Houses of Parliament, View of the Adopted Design as the Building Would Appear from the Surrey End of Westminster Bridge, Print made by T. Kearnan, active 1821–1850, British, after Sir Charles Barry, 1795–1860, British, ca. 1835, Line

Woman with Crescent Moon in Two Deer Chariot, Representing Moon, Artemis, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

London Horse and Carriage Repository, Gray's Inn Road, William Deeble, active 1814–1849, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1828, Engraving

Amphitheatri Veronen Diligens et Accurata Delineatio, Antonio Lafreri, 1512–1577, French, 1560, Line engraving on medium, slightly textured, cream laid paper

Henry Bennet, 1st Earl of Arlington, unknown artist, after unknown artist, 1670-1700, Engraving on medium, moderately textured, beige, laid paper, Sheet: 11 3/16 × 7 1/4 inches (28.4 × 18.4 cm) and Image: 9 3/16 × 6 7/8 inches (23.3 ×

Coln. Mannering, Hazlewood and Smugglers / Coln. Mannering, Hazelwood et Les Contrebandiers, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

View of the Temple of Aesculapius, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1764, Etching and line engraving on moderately thick, slightly textured, cream laid paper

Norham Castle, William Chapman, 1817–1879, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

D. Fredericus de Marselaer, Eques Auratus, Toparcha de Parck, Elewyt Harseaux, Hoycke, Bornage, Liberique Dominii de Opdorp, Consul Bruxellæ, Adrian Lommelin, c. 1637–1677, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in

North West View of Westminster Abbey, unknown artist, nineteenth century, after J. Pass, active 1796–1800, 1815, Engraving

Parts of the Strand and Covent Garden, unknown artist, after Ralph Aggas, 1540?–1621, 1809, Engraving

Morning, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Peter Monamy, 1681–1749, British, Published by John Bowles, 1701–1779, British, 1745, Line engraving and etching on moderately thick,

Studies for the Instruction of Painters, two suites. Rome, c. 1630, Print made by Francesco Curti, 1610–1690, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Domenico de Rossi, active 17th century, Italian,

Studies for the Instruction of Painters, two suites. Rome, c. 1630, Print made by Francesco Curti, 1610–1690, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Domenico de Rossi, active 17th century, Italian,

Samuel Johnson, Thomas Trotter, ca. 1750–1803, British, after unknown artist, undated, Engraving, Sheet: 9 1/4 x 7 1/8in. (23.5 x 18.1cm

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

Connubial Happiness, Print made by E. J. Dumée, active 1790, British, after James Northcote, 1746–1831, British, 1786, Stipple engraving on medium, slightly textured, cream wove paper, Sheet: 22 1/16 × 17 1/2 inches (56 × 44.5 cm),

Martigny, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper with chine-collé, Sheet: 17

Houses on the South SIde of a Street called London Wall, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1812, Engraving

Ulanding of a Cutter, Benjamin Thomas Pouncey, active 1772–1799, British, after John Kitchingman, c. 1740–1781, British, 1785, Engraving with watercolor, Sheet: 9 x 12in. (22.9 x 30.5cm

To the Memory of Sir George Saville Bart, Who in five Successive Parliaments represented the County of York ... 1790, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Fisher, 1760?–1839, After 1790,

Gate of Theseus, Athens, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with gray chine

Will. Shakespere, William Holl, 1807–1871, British, after Abraham Wivell, 1786–1899, British, 1827, Line engraving on wove paper laid down on wove paper, Sheet: 8 1/2 x 6 3/8in. (21.6 x 16.2cm

A Plate of Mechanics (Tuer. 683), Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Leonardo da Vinci, 1452–1519, Italian, 1796, Engraving

The Sleeping Girl, John Jones, ca. 1745–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Stipple engraving on thick, rough, cream, laid paper, Sheet: 20 1/2 × 15 7/8 inches (52.1 × 40.3 cm), Plate: 14 15/16 ×

Inside of St. Helens, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1801, Engraving, Sheet: 5 1/2 x 6 3/8in. (14 x 16.2cm

Angels, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Vieira, 1765–1806, 1800, Engraving

A View of Florence from the Convent of Capuchins at Montugi, Thomas Bowles, ca. 1712–died 1753, British, after unknown artist, (Locchi, Joseph), undated, Hand-colored engraving on wove paper, Sheet: 60 1/2in. (153.7cm), cityscape, farms,

Plymouth, from Mount Batten, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1817, Etching and line engraving on thick, moderately textured, cream, wove paper, Sheet: 11 1/2 × 17

The West Prospect of the Church of St. Barts the Great, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1737, Hand colored engraving, Sheet: 11 x 12 1/4in. (27.9 x 31.1cm

Canonbury Tower, Islington in 1820, unknown artist, nineteenth century, after unknown artist, 1820, Engraving, Sheet: 8 5/16 x 10 3/8in. (21.1 x 26.4cm

Reapers, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1790, Colored engraving, Sheet: 22 x 26 1/2in. (55.9 x 67.3cm

H.R.H. Caroline Princess of Wales and the Princess Charlotte, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, 1799, Engraving

Laugharne Castle, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, 3rd state on moderately thick, slightly textured, beige, wove paper, Sheet: 11 × 15 inches (27.9 ×

South West Prospect of Shrewsbury, Shropshire, Samuel Buck, 1696–1779, British, Nathaniel Buck, active 1727–1753, 1732, Engraving, Sheet: 9 7/16 x 11in. (24 x 28cm

View on Fish Street Hill, John Le Keux, 1783–1846, British, after James Robert Thompson, active 1807–1843, 1809, Engraving

Bridge over St. Cloud from Sevres, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof, early, touched

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

Bow Church, Sutton Nicholls, active 1725, British, after unknown artist, 1754, Engraving, Sheet: 18 1/4 x 13 5/8in. (46.4 x 34.6cm

Hornby Castle, from Tatham Church, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving and etching on thick, slightly textured, cream, wove paper, with cream, chine

Abbeville, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, engraver's proof

Edmund Spencer, Print made by George Vertue, 1684–1756, British, 1727, Line engraving on medium, slightly textured, cream laid paper

St. Herberts Chapel, Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Captain James Cook, F.R.S., Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Webber, 1752–1793, British, 1784, Stipple engraving, Sheet: 9 3/4 x 7 3/4in. (24.8 x 19.7cm

Physiognomy, Henry Adlard, active 19th century, British, after unknown artist, undated, Engraving, Sheet: 10 1/2 x 8 1/2in. (26.7 x 21.6cm

The Burn (tail piece), 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, Sheet: 3 13/16

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

Area Ecclesia Cathedralis S. Pauli Ichnographia, Wenceslaus Hollar, 1607–1677, Bohemian, after Wenceslaus Hollar, 1607–1677, Bohemian, 1657, Engraving, Sheet: 9 x 13 5/8in. (22.9 x 34.6cm

Fall of the Tees, John Landseer, 1769–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching on moderately thick slighlty textured, cream, wove paper, with cream, chine colle, Sheet:

Pamela undressing herself (Mrs Jewkes being first got to bed) while Mr. B. disguised in the maids clothes, with the apron thrown over his face, is impatiently waiting for the execution of his plot., L. Truchy, 1721–1764, after Joseph Highmore,

Forsake not the Law of thy Mother, James Smetham, 1821–1889, British, 1860, Etching and engraving, Sheet: 4 x 3in. (10.2 x 7.6cm

Sacred Architecture: the South Entrance of Dukes Place, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1814, Line engraving on slightly textured, medium, white wove paper, Sheet: 13 x 10 7/16in. (33

Chiswick House in Middlesex, the Seat of Duke of Devonshire, William Watts, 1752–1851, British, after William Watts, 1752–1851, British, 1783, Engraving

Buckingham House, Sutton Nicholls, active 1725, British, 1731-1748, Engraving

Session's House, Clerkenwell Green, Print made by George Cooke, 1781–1834, British, Published by Longman, active 1804–1914, British, 1826, Etching and line engraving on medium, slightly textured, cream wove paper

Rosalind, Celia and Touchstone - 'As You Like It, ' Act II, Scene III, John Chapman, active ca. 1792–1823, British, after Henry William Bunbury, 1750–1811, British, 1792, Engraving and stipple engraving, Sheet: 16 3/8 x 19 1/8in. (41.6

Residence of Nell Gwynne, Bagnigge Wells, Charles John Smith, 1803–1838, British, after unknown artist, 1844, Engraving

Lochmaben Castle (Vignette), Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Engraving

Cornelius Schut, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Engraving

St. Martin, Outwich, James Basire, 1769–1822, British, after unknown artist, undated, Engraving on slightly textured, medium, white wove paper, Sheet: 5 5/16 × 8 9/16 inches (13.5 × 21.7 cm) and Image: 4 5/8 × 7 3/4 inches (11.7 ×

Prospect of London from Whitehall to Whitefriars Stairs taken during the reign of James I, Richard Sawyer, active 1820–1830, after Claus Jansz Visscher, 1586–1652, Dutch, 1809, Engraving, Sheet: 12 5/8 x 10 3/16in. (32.1 x 25.9cm

Triport, Print made by James T. Willmore, 1800–1863, British, after Clarkson Stanfield, 1793–1867, British, Published by Longman, active 1804–1914, British, 1834, Line engraving on medium, slightly textured, cream wove paper

Honorable Harriet Rushout, Print made by Thomas Burke, 1749–1815, British, after Andrew Plimer, 1763–1837, British, undated, Stipple engraving on moderately thick, slightly textured, cream wove paper, Sheet: 11 15/16 x 8 5/8 inches

The Last In, Print made by John T. Smyth, 1819?–1851, British, after William Mulready, 1786–1863, Irish, 1850, Etching, line engraving, and stipple engraving on medium, smooth, cream wove paper, Sheet: 9 9/16 × 12 3/4 inches (24.3

Chapel of St. Giles in the Fields, Church of St. James, Tottenham Court Road, unknown artist, nineteenth century, after unknown artist, 1816, Engraving

Covent Garden Market, Print made by James C. Allen, active 1821–1831, British, after Frederick Nash, 1782–1856, British, 1824, Line engraving on medium, slightly textured, cream laid paper

The Abbey Pool, 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

Bardolph, 'Henry IV', Part II, Act II, Scene IX, John Hamilton Mortimer, 1740–1779, British, after John Hamilton Mortimer, 1740–1779, British, 1775, Engraving, oval image, Sheet: 16 x 5/8in. (40.6 x 1.6cm

Thomas Sackville, first Earl of Dorset, Print made by George Vertue, 1684–1756, British, ca. 1745, Line engraving on medium, slightly textured, cream laid paper

London Bridge, William Henry Toms, ca. 1700–ca. 1750, British, after unknown artist, undated, Engraving, Sheet: 8 7/8 x 13 1/4in. (22.5 x 33.7cm

Rome from the Vatican, Arthur Willmore, 1814–1888, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

John Pym, Esquire, Jacobus Houbraken, 1698–1780, Dutch, after unknown artist, 1738, Engraving

Honorable Elizabeth Rushout, Print made by Thomas Burke, 1749–1815, British, after Andrew Plimer, 1763–1837, British, undated, Stipple engraving on moderately thick, slightly textured, cream laid paper, Sheet: 11 7/16 x 8 1/2 inches

The Ceiling of the Banqueting House at Whitehall: The Union of the Crowns of England and Scotland, Print made by Simon Gribelin, 1662–1733, French, active in Britain, after Sir Peter Paul Rubens, 1577–1640, Flemish, 1720, Line engraving

Pendennis Castle, and Entrance of Falmouth Harbour, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and engraving, first published state on moderately thick, slightly

The Queen of Bohemia's Palace, or Crover House in Drury Lane; as it appeared in the Year 1800, Bartholomew Howlett, 1767–1827, British, after unknown artist, ( Ravenhill ), 1822, Engraving

Peniston, William, and Frederick James Lamb: The Affectionate Brothers, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, Published by Michele

A Rural Entertainment, Print made by Daniel Allen, active 1830s, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Sèvres, Print made by Edward Francis Finden, 1791–1857, British, after Robert Batty, 1789–1848, British, Published by Rodwell & Martin, active 1819–1835, British, 1820, Etching and line engraving on medium, slightly textured,

Florence (vignettes), Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper

Gate of Theseus, Athens, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Etching and engraving, third state on medium, slightly textured, beige, wove paper, with cream,

Anne Boleyn, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland and England, 1738, Line engraving on medium, slightly textured, cream laid paper

The Rural Cott, William Woollett, 1735–1785, British, after George Smith, 1714–1776, British, 1797, Engraving on india paper, proof on moderately thick, slightly textured, cream, wove paper, with chine collé, Sheet: 19 1/8 × 24

Thomas Howard, 21st Earl of Arundel and Alethea Howard (née Talbot), 13th Baroness Furnival, Countess of Arundel, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21;

A View of the South Front of the North Side of the Marshalsea Prison..., unknown artist, nineteenth century, after unknown artist, 1808, Engraving

Exterior of Painted Chamber, North View, unknown artist, undated, Line engraving and graphite on slightly textured, medium thickness, cream wove paper mounted onto smooth, thick, white wove paper, Sheet: 4 3/8 × 3 1/2 inches (11.1 × 8.9

The Horse, William Blake, 1757–1827, British, ca. 1805, Tempera with pen and black ink on a copper engraving plate, Support (PTG): 4 3/16 x 2 1/2 inches (10.6 x 6.4 cm), child, fear, horse (animal), literary theme, romanticism, trees,

Shakespeare, Macbeth Act IV, Scene I, Robert Thew, 1758–1802, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1802, Stipple engraving on moderately thick, moderately texture, cream, wove paper, Sheet: 19 15/16 × 25 1/16

Soldier kneeling on a Stone embracing a Woman, Soldiers in Background, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

St. Maurice (vignette), Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with

Laocoon and his Sons wrestling with two Snakes, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Pietro da Cortona, 1596–1669, Italian, 1765, Engraving, boys, Classical, father, figure study, Greek,

Circi Maximi Accuratissima Descriptio, Antonio Lafreri, 1512–1577, French, 1546-1590, Line engraving on medium, slightly textured, cream laid paper

Winchester Street, London Wall, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1804, Engraving

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

Kilgarren Castle, South Wales, William Elliot, active 1774, died 1792, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1765, Line engraving and etching with hand coloring on moderately thick,

Bridge of Meulan, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, touched with graphite (Later Engraver's Proof

A Pastoral Scene with Donkey, Victor Marie Picot, 1744–1805, French, after Pierre F. Laurent, 1739–1809, 1777, Engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 21 5/8 × 17 inches (54.9 × 43.2 cm), Plate:

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