Images at Librifly

search results: Engraving clear search

St. Germain-en-Laye, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1837, Line engraving, engraver's proof on thick, moderately textured, beige, wove paper, with cream, chine colle,

Book of Job, Plate 2, Satan before the Throne of God, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/8 × 10 7/8 inches (38.4 × 27.6 cm), Plate: 8 1/2 × 6 5/8 inches

Near Deptford, Kent, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1797, Engraving

Franciscus Franck Junior, Pictor Humanarum Figurarum in Minoris Antuerpiæ, William Hondius, c.1597–c.1660, Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21;

Animals a pair: 2. Evening or the Post Boy's Return, Daniel Orme, 1766–1837, British, after George Morland, 1763–1804, British, 1796, Color printed stipple engraving, Sheet: 16 15/16 x 22 13/16in. (43 x 57.9cm

Matthew, 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

An East View of Temple Bar, John Roffe, 1769–1850, British, after William Capon, 1757–1827, British, 1795, Engraving

Isola Bella, on the Lago Maggiore, James Fittler, 1758–1835, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Etching and engraving on medium, slightly textured, cream, wove paper, Sheet: 10 11/16 × 15 inches

A Perspective View of ye Parade in St. James's Park, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1754, Engraving

Mrs. Morgan and Child, Print made by Peltro W. Tomkins, 1760–1840, British, after John Russell, 1745–1806, British, 1789, Etching and stipple engraving on moderately thick, moderately textured, cream laid paper, Sheet: 13 1/16 × 9

Joppa, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engravers' proof

The Earl of Mansfield, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1786, Stipple engraving on silk, mounted on moderately thick, smooth,

Van-Dyck, Print made by Maurice Blot, 1753–1818, after Jean-Baptiste Wicar, 1762–1834, French, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), undated, Etching, line engraving and

Guilielmus Hondius, Calcographus Hagæ Comitis, William Hondius, c.1597–c.1660, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple engraving, line engraving and etching,

An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: The Monument of Ann of Cleves, fourth Wife of King Henry VIII (Plate VII), Engraved by James Basire, 1769–1822, British, William Blake, 1757–1827,

The House of Lords, as Restored after the Fire, Print made by T. Kearnan, active 1821–1850, British, after T. Kearnan, active 1821–1850, British, after Sir Robert Smirke the younger, 1781–1867, British, 1835, Line engraving on

The Fair Alsacien, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1779, Engraving

New London Bridge from Billingsgate (low water), Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1832, Hand colored engraving, Sheet: 11 13/16 x 15 5/8in. (30 x 39.7cm

A Villa on the Night of a Festa di Ballo (vignette), 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

Dr. Johnson, Peter Maverick, 1780–1831, American, unknown artist, ( W. H. Brown ), undated, Engraving, Sheet: 7 3/4 x 4 1/2in. (19.7 x 11.4cm

Daniel Earl of Nottingham, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1747, Line engraving on medium, slightly textured, cream laid paper

A View of the Queen's Palace from the Mall in St. Jame's Park, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving, Sheet: 8 1/4 x 10 3/16in. (21 x 25.9cm

The Temptation on the Pinnancle, Frederick Bacon, 1803–1887, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

The Farmer's Boy & The Rustic Angler, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, stipple engraving, etching and color woodcut on medium, smooth, cream wove paper, Image: 4 3/8 x 6 5/16 inches (11.1 x

James Northcote, Print made by Abraham Wivell, 1786–1899, British, after George Henry Harlow, 1787–1819, British, 1819, Engraving on medium, slightly textured, cream laid paper, Sheet: 20 11/16 × 14 13/16 inches (52.5 × 37.7 cm),

Whalley Abbey (nearer view), James Basire, 1769–1822, British, after Joseph Mallord William Turner, 1775–1851, British, 1800-1801, Line engraving, published State, Sheet: 9 1/4 x 11 5/8in. (23.5 x 29.5cm

'It's Auld Ailie Hersell', James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, engraver's proof

York, 'Henry IV', Part II, Act V, Scene IV, John Hamilton Mortimer, 1740–1779, British, after John Hamilton Mortimer, 1740–1779, British, 1775, Engraving, Sheet: 16 x 13in. (40.6 x 33cm

Kenilworth Castle, Warwickshire, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, engraver's proof

Laugharne Castle, Caermarthenshire, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Plate VIII: St Stephen's Chapel, Print made by James Basire, 1730–1802, British, after John Topham, 1746–1803, British, Formerly unknown artist, 1795, Line engraving on slightly textured, moderately thick, white wove paper bar scale of

For the Sexes: The Gates of Paradise, Plate 7, 'Fire', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 13 3/4 inches (34.9 cm), Sheet: 13

James Stuart, Samuel William Reynolds, 1773–1835, British, after Sir Joshua Reynolds RA, 1723–1792, British, undated, Engraving and etching on medium, slightly textured, beige, wove paper, Sheet: 8 1/16 × 5 5/8 inches (20.5 × 14.3

Mr. Kemble in the Character of King Richard the Third - 'Richard III, ' Act V, Scene V, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1789, Engraving, Sheet: 25

John van Belcamp and Geldorp, 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 1/8 x 5 1/2 inches

Rip Van Winkle, Print made by Charles Rolls, 1800–active 1830, British, after Charles Robert Leslie, 1794–1859, British, 1823, Line engraving on medium, slightly textured, cream laid paper

A View of Hopping Mill, Ware, Francois Vivares, 1709–1780, French, after Thomas Smith of Derby, ca. 1720–1767, British, 1745, Colored engraving on moderately thick, slighlty textured, cream, laid paper, Sheet: 15 9/16 × 21 3/4

The Beach Tree's Petition, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

Beaugency, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on moderately thick, slightly textured, beige, wove paper, Sheet: 8 5/8 × 12 1/16 inches (21.9 × 30.6 cm),

Vernon, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, Open etching

All's Well that Ends Well, George Siegmund Facius, 1750–1804, And Johann G. Facius, 1750–after 1802, German, after Francis Wheatley, 1747–1801, British, 1794, Engraving

Black-George, John Chapman, active ca. 1792–1823, British, after Henry William Bunbury, 1750–1811, British, 1791, Engraving, dogs (animals), rifle

Marriage of Henry the seventh, Print made by George Barret Jr., 1767–1842, British, after Jan Gossaert, ca. 1472–1532, Flemish, 1796, Line engraving on slightly textured, medium, white wove paper, Sheet: 4 1/8 × 4 15/16 inches (10.5

Louth, Lincolnshire, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1829, Line engraving and etching, 3rd state on moderately thick, smooth, cream, wove paper, Sheet: 10 5/8 × 14

Plate XIX: St Stephen's Chapel, Print made by John Carter, 1748–1817, British, after John Carter, 1748–1817, British, 1811, Line engraving on slightly textured, moderately thick, cream wove paper, Sheet: 18 1/2 × 12 1/2 inches (47 ×

Ancestor of Christ from Abiah Lunette (Right Figure), 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

Blenheim House, J. Mynde, active 1740–1770, after unknown artist, undated, Engraving on medium, slighlty textutred, beige, wove paper., mounted on, moderately thick, slighlty textured, white, wove paper, Mount: 17 1/4 × 24 inches

Dunfermline, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

Dudley Priory in Worcestershire, Plate 2, Print made by M. Coote, active 1876, after unknown artist, Published by Alexander Hogg, active 1778–1824, British, before 1786, Line engraving and etching on medium, slightly textured, blued

Edward IV, Renold Elstrack, 1570–1625(?), British, Published by Compton Holland, active 1616–d.1621, British, 1618 or 1628, Line engraving on medium, slightly textured, beige laid paper, laid on mount, Sheet: 7 5/16 x 4 9/16 inches

Geoffrey Chaucer, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1741, Line engraving on medium, slightly textured, cream laid paper

Lady Jane Grey, after George Vertue, 1684–1756, British, after unknown artist, 1748, Stipple engraving and line engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 19 1/2 × 23 5/8 inches (49.5 × 60 cm), Plate:

A View of London and Westminster, etc. from One Tree Hill in Greenwich Park, John Stevens, active 1745–1746, after Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), 1752, Engraving

Lysimachia (Loosestrife), Plate 278 from 'A Curious Herbal', volume II, London, 1737, Print made by Elizabeth Blackwell, died 1774, British, 1737, Etching and line engraving with hand coloring in watercolor on medium, moderately textured,

Pamela setting out in the travelling Chariot (for her Father's as She is made to believe) takes her farewel of Mrs. Jervis, and the other servants; Mr. B. observing her from the window; by whose private order she is carried into Lincolnshire, Print

Abiud, 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

An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: The Figure of Aveline Countess of Lancaster, Cumbent on her Monument (Plate II), James Basire, 1769–1822, British, William Blake, 1757–1827,

The Healing of the Lame Man, after George Baxter, 1804–1867, British, after Raphael, Italian, 1483–1520, Italian, Print made by Bradshaw & Blacklock, active ca.1850, British, Published by Bradshaw & Blacklock, active ca.1850,

Plate XXXVIII: House of Lords, as Fitted up in 1835, Print made by T. Clarke, 1799–1839, after Robert William Billings, 1813–1874, British, 1836, Line engraving on smooth, moderately thick, white wove paper, Sheet: 7 7/8 × 5 7/16

Honfleur, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Buckfastleigh Abbey, Devonshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

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

Alope, Print made by Richard Earlom, 1743–1822, British, after George Romney, 1734–1802, British, Published by John Boydell, 1720–1804, British, Published by Josiah Boydell, 1752–1817, British, 1787, Stipple engraving and

Henry Tresham, Esq. R. A., Print made by Anthony Cardon, 1772–1813, Flemish, after Alexander Pope, 1763–1835, British, Published by Cadell & Davis, Strand, 1773–1836, British, 1814, Stipple engraving and etching on moderately

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

George Washington at Battle of Trenton, John Cheesman, 18–19th c., after John Trumbull, 1756–1843, American, 1795, Engraving in stipple

St. Helens Leatherseller's Hall, London, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1799, Engraving

The Field of Waterloo from Hougoumont, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof, Sheet: 17 1/16 × 11 13/16 inches (43.3 × 30 cm),

Brienne, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, with scraping out and touched with graphite (Early Engraver's Proof

Angelica Kauffman, Print made by Pierre Audouin, 1768–1822, French, after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), and after Jean-Baptiste Wicar, 1762–1834, French, undated, Line engraving and etching

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

The Stage Coach; Or Country Inn Yard, William Hogarth, 1697–1764, British, 1747, Engraving, Sheet: 8 1/16 x 11 3/4in. (20.5 x 29.8cm

No. 1 - A Table of Hieroglyphics found at Axum, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1771-1789, Engraving

Lord Hawke, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Cotes RA, 1726–1770, British, 1796, Stipple engraving and etching in brown ink on moderately thick, moderately textured,

Jacobus de Breuck, 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 on medium, slightly textured, blued white, laid paper,

William Murray First Earl of Mansfield, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), Intermediary drawing by Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85),

Male Nude from Panel of 'The Sacrifice 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

'Richard II', Act III, Scene II, John Hamilton Mortimer, 1740–1779, British, after John Hamilton Mortimer, 1740–1779, British, 1775, Engraving, Sheet: 15 3/4 x 12 3/4in. (40 x 32.4cm

Set of Needle-Box Prints, Bradshaw & Blacklock, active ca.1850, British, after 1850, Etching and stipple engraving, with color woodcut on cream card mounted on beige card, Sheet: 2 3/16 x 4 9/16 inches (5.5 x 11.6 cm) and Image: 1 7/8 x 4 1/16

The Command to Jacob to Depart, John Alexander, active 1715–1752, British, after Raphael, Italian, 1483–1520, Italian, 1717, Etching and engraving, Sheet: 11 1/2 x 20 1/8in. (29.2 x 51.1cm

Harlech Castle, North Wales, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Messrs. Morgan & Sanders, Catherine St., Strand, Print made by unknown artist, Published by Rudolf Ackermann, 1764–1834, British, 1809, Line engraving and etching with hand coloring on moderately thick, slightly textured, beige wove

Vol. 6, Plate XXXIV: The Story of Elijah and Ahaziah. The Miracles of Elisha., Print made by James Basire, 1769–1822, British, after Charles Alfred Stothard, 1786–1821, British, 1842, Hand colored engraving on smooth, moderately thick,

Frauen Capelle, Haupt Markt, Print made by William Tombleson, ca.1795–1835, British, after Robert Batty, 1789–1848, British, 1822, Line engraving on medium, slightly textured, cream wove paper

The Battle at La Hogue, William Woollett, 1735–1785, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1781, Etching and engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 19

Sun Under a Cloud, 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

'-the Stag repells each bold assault.', John Neagle, 1796–1865, American, August 1, 1796, Engraving

Joannes Livens, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving, stipple engraving and etching (4th state) on medium,

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

Leaving Home, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 5/8 × 6 5/16

Gertrude of Wyomimg - The Valley (Vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Engraving

Zadoch, 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

Plate 17 (page 27): 'O treacherous conscience! while she seems to sleep', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Erith and Belvidere, Print made by William Bernard Cooke, 1778–1855, British, after Samuel Owen, 1768–1857, British, Published by William Bernard Cooke, 1778–1855, British, 1819, Line engraving on medium, slightly textured, cream

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

The Stag taking Soil, Robert Sheppard, active 1730–1740, British, after Jan Wyck, ca. 1645–1700, Dutch, active in Britain (from ca. 1664), no date, Line engraving, Sheet: 11 5/8 x 17 1/2in. (29.5 x 44.5cm

Margate, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1823, Etching and line engraving; first published state india paper on medium, slightly textured, cream wove

Smailholme Tower, Print made by Edward Goodall, 1795–1870, 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 Religion of Europe: Professed and Practiced, Print made by Gregory, Collins and Reynolds, active 1843, British, ca. 1845, Wood-engraving with color woodcut on moderately thick, smooth, beige wove paper, Sheet: 10 3/4 x 8 inches (27.3 x

Excellmus. Dominus. D. Joannes. Comes. Nassoviæ. Cattinelliboci. Vian Dietz. 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, Line

search results: Engraving clear search