Images at Librifly

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Plymouth Citadel, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1823, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper,

A View of Governour Pitt's House at Twickenham, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1753, Engraving

Dom Carolus. De. Columna. a. Cons. Stat. Prim. a. Cubic Reg. Matis. Cath. Magister Campi. Gnalis. in Belg. Etc., Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34;

Concert Ticket, Mary's Chappel, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly textured, cream wove paper

View from the Cowgate of the Buildings on the South of the Parliament Close, Print made by Robert Scott, 1771–1841, British, 1824, Etching and 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, Etchiing and line engraving

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

St. James Park, George Morland, 1763–1804, British, 1790, Hand colored stipple engraving, Sheet: 18 1/2 x 21 1/4in. (47 x 54cm

Shakspeare, Abraham Wivell, 1786–1899, British, 1827, Etching, stipple engraving and line engraving on wove paper, Image: 5 3/8 x 4 1/2in. (13.7 x 11.4cm), Sheet: 12 1/2 x 9 3/4in. (31.8 x 24.8cm), and Plate: 9 3/4 x 7 3/8in. (24.8 x

Caligula' Palace & Bridge, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

West Window of the Chapel, New College Oxford: The Virtues - Justice, George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1782, Stipple engraving on moderately thick, moderately textured, beige, laid

Humours of an Election Entertainment, Print made by T. E. Nicholson, active early 19th century, British, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833, Etching and line engraving

Dunwich, Suffolk, James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, ca. 1830, Line engraving and etching on thick, slightly textured, beige, wove paper, with beige, chine colle,

Two Girls, One Crying, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on moderately thick, slightly textured, cream wove paper mounted on moderately

For Children. The Gates of Paradise, Plate 4, 'Water', 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 (14 cm), Sheet: 5 3/8

Polling at the Hustings, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1808, Etching and line engraving on medium, slightly textured,

The West View of the Tower of London, Nathaniel Buck, active 1727–1753, after Samuel Buck, 1696–1779, British, 1737, Engraving

Eton College, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, 3rd state on moderately thick, smooth, cream, wove paper, Sheet: 10 5/8 × 14 5/8 inches (27 × 37.1

Middle Row, Holborn, Thomas Barber, ca. 1768–1843, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1830, Engraving

Chinese Pavilion in European Landscape, William Byrne, 1743–1805, British, after S. Lefebre, 1792, Etching and engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 16 5/16 × 21 3/4 inches (41.4 × 55.2 cm), Plate:

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: 8 3/4 x 6 1/2 inches (22.2 x 16.5

The Hen Peckt Husband, Print made by unknown artist, after William Dawes, active 1760–1774, published by Robert Sayer, 1725–1794, British, and John Smith of Cheapside, active ca. 1750–1789, British, 1768, Line engraving, Sheet: 13

Italian Peasants - Tryoliean Waltz., Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, etching, stipple engraving and color woodcut on cream card mounted on cream card, Image: 4 5/16 x 6 3/8 inches (11 x 16.2

Robert Streater, Alexander Bannerman, ca. 1730–1780, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 10 7/8 x 8 1/8 inches (27.6 x 20.6 cm), Plate: 7 1/4 x 5 1/2 inches (18.4 x 14 cm), and Image: 5 1/4 x 4

Gemini - Odd-fellows, Print made by George Cruikshank, 1792–1878, British, undated, Etching and stipple engraving on moderately thick, slightly textured, beige wove paper, Sheet: 4 1/4 x 6 11/16 inches (10.8 x 17 cm) and Image: 3 1/4 x 5

Shopping, Print made by Florence Claxton, active 1855–1889, British, undated, Wood-engraving, Sheet: 6 1/2 x 9 3/4in. (16.5 x 24.8cm), conversation, costume, dress, genre subject, hats, men, shopping, women

Corinth from the Acropolis, 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,

Boys Playing at Peg Top, Print made by Robert Pollard, 1755–1838, British, and Francis Jukes, 1747–1812, British, after Richard Morton Paye, 1750–1821, British, 1786, Line engraving, etching, and aquatint on medium, moderately

A Representation of the Altar-Piece lately Set up in White-Chapel Church, unknown artist, eighteenth century, after James Fellowes, fl.1710–1745, undated, Engraving

The Gate of Calais, O the Roast Beef of Old England, Print made by William Radclyffe, 1780–1855, British, after William Hogarth, 1697–1764, British, Published by John Tallis & Co, active 1838–1840, British, 1833, Etching and line

Illustrations of Imitation of Eclogue I, Page 14, William Blake, 1757–1827, British, Published by Robert John Thornton, 1768–1837, British, 1821, Wood-engraving and letterpress on medium, slightly textured, cream wove paper, Spine: 7

Comedies, Print made by John Hall, 1739–1797, British, after John Hamilton Mortimer, 1740–1779, British, Published by John Bell, 1745–1831, British, ca. 1776, Line engraving and etching on medium, slightly textured, beige laid

Fair Scene, William Hogarth, 1697–1764, British, after William Hogarth, 1697–1764, British, 1733, Engraving

Plate 31 (page 65): Night the Fourth 'THE/ CHRISTIAN/ TRIUMPH', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Serenissima D. Isabella Clara Eugenia, Hispaniarum Infans etc., Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple engraving, line

Lady Langham, Print made by Charles Wilkin, 1750–1814, British, after John Hoppner, 1758–1810, British, 1800, Stipple engraving on moderately thick, moderately textured, cream wove paper, Sheet: 14 9/16 × 11 1/8 inches (37 × 28.3

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

The Hours, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Maria Hadfield Cosway, 1759–1838, British, 1788, Engraving

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

The Tower of London, William Henry Toms, ca. 1700–ca. 1750, British, after Leonard Knyff, 1650–1721, Dutch, active in Britain (by 1681), c. 1750, Engraving

Heads of Two Proboscis Monkeys, James de Carle Sowerby, 1787–1871, British, undated, Engraving on thin, smooth, cream wove paper, Sheet: 3 3/8 x 5 3/16in. (8.6 x 13.2cm), animal art, monkeys (animals

Mr. Kemble, of the Theatre Royal, Drury Lane, Print made by William Nelson Gardiner, 1766–1814, Irish, after Sylvester Harding, 1745–1809, British, Published by John Sewell, active 1735–1802, British, 1797, Stipple engraving and

Melun, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving

Chateau d'Arc, near Dieppe, William Forrest, 1802–1889, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

A View of St. James's Square, London, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1753, Hand colored engraving, Sheet: 10 1/4 x 15 7/8in. (26 x 40.3cm

Animals a pair: 1. Morning or the Higlers preparing for Market, Daniel Orme, 1766–1837, British, after George Morland, 1763–1804, British, 1796, Color printed stipple engraving, Sheet: 16 7/8 x 22 5/8in. (42.9 x 57.5cm

Oberwesel, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1854, Line engraving on medium, slightly textured, cream wove paper

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

Carlo Maratti, R. Page, active 1816–1825, after Carlo Maratti, 1625–1713, Italian, 1816, Stipple engraving with hand coloring, Sheet: 6 1/4 x 4 1/2in. (15.9 x 11.4cm

Washing the Blackamoor, Print made by Isaac Cruikshank, 1756–1810, British, Published by S. W. Fores, 1761–1838, British, 1795, Etching and stipple engraving, hand-colored on moderately thick, slightly textured, beige laid paper,

Coteaux de Mauves, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

December, Charles Shannon, 1863–1937, British, ca. 1897, Wood engraving, Sheet: 5 7/16in. (13.8cm

The Palace of Mont Alto at Naples, Print made by unknown artist, (de Bois), Published by John Bowles, 1701–1779, British, undated, Etching and line engraving on medium, slightly textured, cream laid paper, laid on contemporary mount made

Telemachus and Mentor Discovered by Calypso, Edward Scriven, 1775–1841, British, And Thomas Williamson, active 1802, after Richard Westall, 1765–1836, British, 1810, Engraving on moderately thick, moderately textured, cream, laid

Henricus Steenwyck, Pictor Architectonices Hagæ Comitis, 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

Eton College, Environs - South, James S. Storer, 1771–1853, British, after Joseph Powell, 1780–1834, British, 1805, Engraving

Corinth, (Cenchrea), Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

Two Views of the Old Theatre Royal Drury Lane, Bartholomew Howlett, 1767–1827, British, after William Capon, 1757–1827, British, And after C. John M. Whichelo, 1784–1865, British, 1814, Engraving

Robert Streater, Alexander Bannerman, ca. 1730–1780, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 7/8 x 9 1/8 inches (30.2 x 23.2 cm), Plate: 7 x 5 1/2 inches (17.8 x 14 cm), and Image: 5 1/4 x 4 7/8

Young's Night Thoughts, Page 75, 'The Sun beheld it -- No, the shocking Scene', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Sewell's Folly, Battersea Rise, Samuel Rawle, 1771–1860, British, after Samuel Rawle, 1771–1860, British, undated, Engraving on slightly textured, moderately thick, cream wove paper, Sheet: 5 13/16 × 8 7/16 inches (14.8 × 21.4 cm),

Interior of the Hall of Lambeth Palace, John Greig, active 1800–1853, British, after C. John M. Whichelo, 1784–1865, British, 1804, Engraving

The Birth of Venus, George Siegmund Facius, and I. G., 1750–1804, after James Barry, 1741–1806, Irish, c. 1778, Engraving, Sheet: 13 3/4 x 10 1/4in. (34.9 x 26cm

Plate 4, The Industrious 'Prentice a Favourite, and Entrusted by his Master, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching with line engraving, Sheet: 10 1/2 × 13 5/8

Edmontn N. Outer Suburb, Thomas Bonnor, ca. 1740–ca. 1812, British, after unknown artist, ( W., D. ), undated, Engraving

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

Birth of Bacchus, after Sir Joshua Reynolds RA, 1723–1792, British, Louis Sailliar, 1748–1795, French, 1788, Stipple engraving on thick, moderately textured, beige, wove paper, Sheet: 20 5/8 × 15 1/2 inches (52.4 × 39.4 cm), Plate:

At Portsmouth with part of the Common, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after T. & I. Milton, 18th century, 1754, Color engraving

Bacchus and Bacchante, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1787, Engraving

Hotel de Ville, Paris, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st published state

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

Tortoise, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving, hand colored, animal art, tortoise

Sheerness Dockyard, William Watts, 1752–1851, British, 1803, Engraving on moderately thick, moderately textured, beige, wove paper, Sheet: 19 15/16 × 26 13/16 inches (50.6 × 68.1 cm) and Image: 17 7/8 × 25 3/4 inches (45.4 × 65.4 cm

Wreck off Hastings, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving ( Art Journal

Venice, The Dogana, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Valley of the Dhoon, W. Floyd, active 1845, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof

Lyme Regis, Norfolk, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving and etching, 3rd state on moderately thick, slightly textured, beige, wove paper, Sheet: 10

An Old Oak, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, moderately textured, beige, wove paper, with gray chine colle, Sheet:

Culzean Castle, South East View, Ayrshire; page 84 (Volume One), William Radclyffe, 1780–1855, British, after John Preston Neale, 1771/80–1847, British, 1830, Engraving

Dunwich, James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1819-1826, Line engraving and etching, 1st state on moderately thick, slightly textured, cream, wove paper, with cream,

'Antony and Cleopatra, ' Act III, Scene XI, Georg Goldberg, 1830–1894, German, after Frank Bernard Dicksee, 1853–1928, British, Published by Cassell & Co., 1817–1901, British, undated, Line engraving and etching on moderately thick,

Scarcity in India, Charles Knight, 1743–c.1826, British, after Henry Singleton, 1766–1839, British, 1794, Stipple engraving, partially printed in color, Plate: 20 1/4 x 16in. (51.4 x 40.6cm) and Sheet: 22 3/4 x 17 3/4in. (57.8 x 45.1cm

A View of the Ancient Royal Palace called Placentia in East Greenwich, James Basire, 1769–1822, British, after unknown artist, 1767, Engraving

A View of Blackwall looking towards Greenwich, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1750, Engraving

The Temple of Jupiter in the Island of Aegina, Etched by Samuel Middiman, ca. 1750–1831, British, Engraved by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Etching and line engraving;

Mantes, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, third state

Angel carrying Two Babies and Flying over Sleeping Cattle, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Annibale Carracci, 1560–1609, Italian, 1764, Engraving

Fulham, Thomas Preist, active 1740-1750, British, after Thomas Preist, active 1740-1750, British, 1738, Engraving, Sheet: 10 x 14 1/2in. (25.4 x 36.8cm

Edinburgh - March of the Highlander's, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Valley of the Brook Kedron, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Columbus Breaking the Egg, 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 textured,

Temple Bar, from Butcher Row, James S. Storer, 1771–1853, British, after Edward Dayes, 1763–1804, British, 1804, Engraving

Shipbuilding (An Old Oak Dead), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Lien engraving, 1st state on moderately thick, slightly textured, beige, wove paper, Sheet: 11 5/8 ×

Llangollen, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Etching and engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 1/16 × 14 15/16

An Thymelaea foliis obtusis; Anseri Bassano &c: The Great Booby, Plate 86 from the 'Natural History of Carolina, Florida and the Bahama Islands', volume I, 2nd edition, London 1754, Print made by Mark Catesby, 1682–1749, British, 1754,

Fountain Cottage, Camberwell Grove, James S. Storer, 1771–1853, British, after Henry Gastineau, 1791–1876, British, 1811, Engraving, Sheet: 5 7/16 x 7 1/4in. (13.8 x 18.4cm

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

Bristol High Cross, Print made by Samuel Buck, 1696–1779, British, and Nathaniel Buck, active 1727–1753, 1734, Line engraving and stipple engraving, hand-colored on moderately thick, slightly textured, cream laid paper, Sheet: 19 9/16

Evacuation Before Resignation, James Gillray, 1757–1815, British, 1782, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Part of Waterloo Bridge with the Shot Tower, &c., Print made by George Cooke, 1781–1834, British, Clarkson Stanfield, 1793–1867, British, Published by Longman, active 1804–1914, British, 1832, Etching and line engraving on medium,

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