Images at Librifly

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Amalfi, 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

Rain, Steam and Speed, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Honfleur, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Marchioness of Townshend and Child, Print made by Thomas Cheesman, 1760–1834/35, British, after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1792, Stipple engraving and etching on medium, slightly textured,

Henry V: Act II, Scene ii, Southamptom. The King, Scroop, etc., Robert Thew, 1758–1802, British, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1803, Engraving, Sheet: 17 5/16 x 23 3/8in. (44 x 59.4cm

The Temptation on the Pinnancle, Frederick Bacon, 1803–1887, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first published state

Vignette entitled 'Moore' depicting Cupid, Venus, and Juno, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Biagio Rebecca, Italian, 1735–1808, Italian, 1782, Engraving

Captain Joseph Huddart, James Stow, ca. 1770–after 1820, British, after John Hoppner, 1758–1810, British, 1801, Line engraving, Sheet: 7 1/8 x 10 1/2in. (18.1 x 26.7cm

Swearing to the Cutting Monster or A Scene in Bow Street, James Gillray, 1757–1815, British, 1790, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

The Scene at the Execution of the Gunpowder Plotters, Nikolaus Visscher, 1597–1651, Dutch, after Nikolaus Visscher, 1597–1651, Dutch, 1606, Engraving

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

Bee Cuckoo, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1790, Engraving

Henry IV, Part I, Act II, Scene II: ' The Road by Gadshill - Prince Henry, Poins, Peto, Falstaff, etc.', Samuel Middiman, ca. 1750–1831, British, after Robert Smirke, 1752–1845, British, And Joseph Farington, 1747–1821, British,

The Cheshire Hunt, Charles G. Lewis, 1808–1880, British, after Henry Calvert, active 1826–1854, British, 1842, Hand colored engraving, Sheet: 19 3/8 x 31 3/4in. (49.2 x 80.6cm

Two Cupids supporting Coat of Arms, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Doctor Willis, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after James Nixon, c.1741–1812, British, 1789, Engraving

Portrait of Caravaggio, Henry Simon Thomassin, 1687–1741, undated, Etching and engraving on laid paper on moderatley thick, moderately textured, cream, laid paper, Sheet: 21 5/8 × 16 1/16 inches (54.9 × 40.8 cm), Plate: 9 1/16 × 5 3/8

The Northeast Prospect of the Parish Church of St. Botolph, without Bishopsgate, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving, Sheet: 15 x 9 3/4in. (38.1 x 24.8cm

South View of the Theatre Royal in Portugal Street, Lincoln's Inn Fields, William Wise, Active 1823–1876, British, after George Shepherd, active 1782–1830, 1811, Engraving

Rouen, looking up the River, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

Francis Beaumont, Esquire, Print made by George Vertue, 1684–1756, British, 1729, Line engraving on medium, slightly textured, cream wove paper

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

Speculum Romanae Magnificentiae, Antonio Lafreri, 1512–1577, French, Published by Nicolaus van Aelst, ca. 1527–1613, Flemish, 1546-1590, Line engraving on medium, slightly textured, cream laid paper

Newark Castle, Print made by William Bernard Cooke, 1778–1855, 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 Andes Coast (Vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Engraving

Male Nude from Panel of 'God Separating the Waters...', 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

A View of the Waterloo Bridge, unknown artist, after unknown artist, 1816, Hand colored engraving, Sheet: 13 1/8 x 18 1/8in. (33.3 x 46cm

Portion of Buck's View of London (1749) showing the Savoy and Part of Somerset House, unknown artist, after Samuel Buck, 1696–1779, British, OR after Nathaniel Buck, active 1727–1753, 1749, Engraving

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

Regulus leaving Carthage, Samuel Bradshaw, 1830–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Plate 5, The Idle 'Prentice Turned Away, and Sent to Sea, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching and line engraving, Sheet: 10 5/8 × 13 3/4 inches (27 × 34.9 cm

David Garrick Esq., Samuel Freeman, 1773–1857, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1807, Stipple engraving on moderately thick, slighlty textured, cream, wove paper, Sheet: 10 3/4 × 8 1/4 inches (27.3 × 21

Bally-Burgh Ness, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, engraver's proof, touched

Jane Shore, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1790, Etching and stipple engraving on medium, slightly textured, cream laid paper, Sheet: 7 1/8 x 5 1/2 inches (18.1 x 14 cm)

Northeast View of the Back of the Original Altar of St. Barts the Great, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1811, Engraving, Sheet: 11 1/4 x 9in. (28.6 x 22.9cm

The Tower of London from the Excavations for St. Katherine's Dock, George Cooke, 1781–1834, British, after Clarkson Stanfield, 1793–1867, British, 1827, Engraving

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,

HMS Bellerophon, Plymouth Sound, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving

A View of the Herald's Proclaiming of Peace at the Royal Exchange London on June 20, 1814, unknown artist, after unknown artist, 1814, Engraving

Malmaison, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and line engraving

Library at Strawberry Hill, Print made by John Godfrey, 1784, Line engraving on medium, slightly textured, cream wove paper

John Wyck and Thomas Wyck, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 x 9 1/8 inches (29.8 x 23.2 cm), Plate: 7 1/4 x 5 1/2 inches (18.4 x

Simmer Lake, near Askrig, Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, Sheet: 10 7/8 × 16

St. Maurice, Print made by Robert Wallis, 1794–1878, 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 × 12

Double Hairpin Set, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, stipple engraving, etching and color woodcut on cream card mounted on beige card, Sheet: 6 5/8 x 7 5/16 inches (16.8 x 18.5 cm), Image: 2

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

Representation of the Ceremony of Presenting the Sheriffs of London, James Stow, ca. 1770–after 1820, British, after C. John M. Whichelo, 1784–1865, British, 1813, Engraving

A Grecian Harvest Home (Designs for the Walls of the Great Room of the Society for the Encouragement of the Arts), James Barry, 1741–1806, Irish, after 1783, Engraving, Sheet: 16 x 19in. (40.6 x 48.3cm

King Richard III: Act III, Scene I (The Meeting of Edward V and His Brother, Richard, Duke of York), Print made by Robert Thew, 1758–1802, British, after James Northcote, 1746–1831, British, 1789, Stipple engraving and aquatint on

Albyns, Essex, The Seat of John R. Abdy, Esquire (published by L. Asperne); page 7 (Volume One), Samuel Rawle, 1771–1860, British, 1806, Engraving

Coombe-Martin, Devonshire, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1814 to 1826, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove

Lord Sinclair advising King James to Revenge the Execution of Mary Queen of Scots, Print made by Philip Audinet, 1766–1837, British, after Mather Brown, 1761–1831, American, active in Britain, Published by J. Stratford, active

Edward Sackville, Earl of Dorset, Lord Chamberlain, 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), 1742, Line engraving, stipple

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

James Naylor, Print made by Robert Grave, 1768–1825, Published by J. Caulfield, 1764–1826, British, 1823, Line engraving on medium, slightly textured, cream wove paper

Mrs. Quarrington as St. Agnes, Print made by Thomas Chambars, ca. 1724–1789, British, after Sir Joshua Reynolds RA, 1723–1792, British, ca. 1787, Etching and line engraving on moderately thick, slightly textured, beige laid paper,

Another View of B1977.14.18221, with a further small engraving taken from the Hampstead Road, John Carter, 1748–1817, British, William Wise, Active 1823–1876, British, 1811, Engraving

Florence, from the Chiesa al Monte, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Etching and line engraving on medium, slightly textured, cream, wove paper, Sheet: 10 1/2 × 14 1/2

Lago Maggiore, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1828-1837, Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, with cream, chine colle,

Plate 15 (page 25): 'Behold him, when past by; what then is seen', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

September, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1793, Engraving

July - Society Masquerading, Print made by Adelaide Claxton, 1858–1905, British, undated, Wood-engraving, Sheet: 6 3/4 x 3 1/4in. (17.1 x 8.3cm), costume, dress, genre subject, leisure, masquerade, men, society, women

A Geometrical View of St. Stephen's Chapel, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1807, Engraving

The South West Prospect of London, unknown artist, eighteenth century, after unknown artist, 1760, Hand colored engraving

William Cavendish, Duke 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

Pamela having divided her clothes into threee Bundles, in order to leave the House, rejects that containing her Masters presents calling it the wicked bundle, & harangues over her own little Parcel which she huggs in her Arms;..., Print made by

John Russell, first Earl of Bedford, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1739, Line engraving on medium, slightly textured, cream laid paper

The Absent Father or the Sorrows of War, William Nutter, 1754–1802, British, after Henry Singleton, 1766–1839, British, 1797, Stipple engraving, Sheet: 13 7/8 x 11 5/8in. (35.2 x 29.5cm

Tancarville, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

View of the New Theatre Royal, Haymarket, unknown artist, ( Dale ), after Jacob C. Schnebbelie, 1760–1792, British, 1822, Engraving

Plate XI: A Perspective View of a Lapping Room, with the Measuring, Crisping or Folding the Cloth in Lengths, Picking the Laps or Lengths, Tying the Clips, acting by the Mechanic power of the Laver to press the Cloth round & firm, and Sealing

St. Paul's Covent Garden during the Fire on 17 September 1795, John Scott, 1774–1828, British, after B. F. Scott, active 1795, 1795, Hand colored engraving, Sheet: 10 13/16 x 16 3/8in. (27.5 x 41.6cm

The Effigies of John Rushworth Esq., Robert White, 1645–1703, British, after unknown artist, undated, Engraving on medium, slightly textured, cream, laid paper, mounted on, moderately thick, slightly textured, white, wove paper,

The Invasion, Plate I, France, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1807, Etching and line engraving on medium, slightly

Plan of the Ancient Inn, Situated in Tooley Street, Southwark, unknown artist, after unknown artist, ( H. Gardner ), 1817, Engraving

Weymouth, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Line engraving, etching and stipple engraving (intermediate state, between completed E.P. and 1st state) on thick,

Turnips and Carrots Ho, Thomas Gaugain, 1748–1812, French, after Francis Wheatley, 1747–1801, British, 1797, Engraving

Reynolds, J. Pass, active 1796–1800, after Sir Joshua Reynolds RA, 1723–1792, British, 1826, Line engraving, Sheet: 10 1/8 x 6 3/4in. (25.7 x 17.1cm

Philip Dormer Stanhope, Earl of Chesterfield, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1777, Line engraving on medium, slightly textured, cream wove paper

Napoleon's Logement, Quai Conti, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834-1836, Etching and engraving (Engraver's Proof

St. Mary le Strand, Sutton Nicholls, active 1725, British, after unknown artist, undated, Engraving on slightly textured, medium, gray wove paper, Sheet: 18 1/8 × 13 7/16 inches (46 × 34.1 cm), architectural subject

Young's Night Thoughts, Page 12, 'Its favours here are trials, not rewards', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Trade Card for Thomas Sandby, Jr., Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Benjamin West, 1738–1820, American, active in Britain (from 1763), Published by Thomas Sandby RA,

Saumur, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving on medium, slightly textured, cream, wove paper, Sheet: 4 5/8 × 7 3/8 inches (11.7 × 18.7 cm) and Image: 3 3/4

Placenza, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof

Sir Francis Burdett, 5th Baronet, unknown artist, ( William Harp ), after James Northcote, 1746–1831, British, 1811, Engraving on moderately thick, slightly textured, beige, laid paper, Sheet: 18 3/8 × 13 1/2 inches (46.7 × 34.3 cm)

Male Nude from Panel of 'The Drunkeness of Noah', 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 Haymakers, William Woollett, 1735–1785, British, after George Smith, 1714–1776, British, c. 1800, Line engraving and etching on wove paper, Sheet: 17 x 20 3/8in. (43.2 x 51.8cm), cattle, church, fishing, genre, genre subject,

On the Thames, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

The Bowlers, William Henry Simmons, 1811–1882, British, after Sir George Harvey, 1806–1876, British, 1852, Engraving, mainly stipple, colored by hand, Sheet: 19 1/8 x 31 1/8in. (48.6 x 79.1cm

A General View of the City of London, next the River Thames, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

View of the Front of the Royal Exchange, unknown artist, nineteenth century, after unknown artist, undated, Engraving

Bermerside, Print made by John Horsburgh, 1791–1869, 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 Deer Pass, Richard Dudensing, Died 1899, after Sir Edwin Henry Landseer, 1802–1873, British, no date, Engraving, Sheet: 23 7/16 x 28 5/16in. (59.5 x 71.9cm

Brussels - Distant View, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Valombre, 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, Sheet: 17 1/16 × 11 15/16

Views of the Cities of Westminster and London taken from the Opposite Bank of the Thames, Samuel Buck, 1696–1779, British, And Nathaniel Buck, active 1727–1753, after Samuel Buck, 1696–1779, British, And after Nathaniel Buck, active

Margate, Kent, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, early

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

The Minister endeavouring to eke out Dr. Pr*ty***n's Bisho-Prick, James Gillray, 1757–1815, British, 1787, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

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