Images at Librifly

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The City of London Tavern, Bishopsgate Street, Samuel Rawle, 1771–1860, British, after George Shepherd, active 1782–1830, 1809, Engraving on slightly textured, medium, white wove paper, Sheet: 7 1/2 × 4 7/8 inches (19.1 × 12.4 cm),

Sir Christopher Wren and Hugh Howard, Alexander Bannerman, ca. 1730–1780, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11

Painting in Fresco in the Sepulchres of Thebes, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Cries of London, Turnips and Carrots, Thomas Gaugain, 1748–1812, French, after Francis Wheatley, 1747–1801, British, Published by Colnaghi, established 1760, active ca. 1785–1911, Italian, active in Britain, 1797, Colored stipple

The transport of Peregrine Pickle, on rushing from his concealment into the Presence of Emily, Charles Warren, 1767–1823, British, after Richard Corbould, 1757–1831, British, 1800, Engraving

One of Seven Engraved Reproductions from 'Roger's Italy', M. H. Long, after Joseph Mallord William Turner, 1775–1851, British, 1884, Engraving

A General View of Highgate taken from near the Southeast Corner of Caen Wood, John Goldar, 1729–1795, British, after unknown artist, 1786, Hand colored engraving

For the Sexes: The Gates of Paradise, Plate 15, 'Fear & hope are -- Vision', 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

The Pilgrimage of Childe Harold, Print made by unknown artist, after print by James T. Willmore, 1800–1863, British, Formerly attributed to Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British,

A View of London Bridge with ye Ruins of ye Temporary Bridge after the Fire of 11th April 1758, Anthony Walker, 1726–1765, British, after Anthony Walker, 1726–1765, British, 1758, Hand colored engraving, Sheet: 11 x 16 1/2in. (27.9 x

Bolton Abbey, Yorkshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, first published state

The Great Lake near the Lodge, William Austin, 1721–1820, British, after Thomas Sandby RA, 1721–1798, British, 1772, Hand colored engraving, Sheet: 13 3/4 x 23in. (34.9 x 58.4cm

Young's Night Thoughts, Page 40, 'Angels should paint it, angels ever there', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

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

Panthei Fidelissime Dimensi Exterior et Interior, Print made by unknown artist, sixteenth century, Published by Antonio Lafreri, 1512–1577, French, 1553, Etching and line engraving on thin, slightly textured, cream laid paper, Sheet: 14

The Right Honorable Samuel Lord Hood, Print made by Frantz Gabriel Fiesinger, German, 1723–1807, German, after James Northcote, 1746–1831, British, 1793, Line engraving, Sheet: 8 5/16 x 12 3/8in. (21.1 x 31.4cm

The Sherburne Chapel in Mitton Church, James Basire, 1769–1822, British, after Joseph Mallord William Turner, 1775–1851, British, 1800-1801, Line engraving, published state

The Southwest view of Hertsmonceux Castle in the County of Sussex, Samuel Buck, 1696–1779, British, and Nathaniel Buck, active 1727–1753, 1737, Engraving with graphite on slightly textured, medium, cream laid paper, Sheet: 10 5/8 × 16

Marble Hall Cottage, William Bernard Cooke, 1778–1855, British, after Peter DeWint, 1784–1849, British, 1819, Engraving

Babylon, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Rouen, looking up the river, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Plate XI: Elevation, Section and Plan, of One Compartment (of Three) of the Screen, St. Stephen's Chapel, Westminster, Print made by Robert William Billings, 1813–1874, British, after Robert William Billings, 1813–1874, British, 1835,

None, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper

Coast Scene with Fishermen Hauling a Boat Ashore, Print made by Edward P. Brandard, 1819–1898, British, after Joseph Mallord William Turner, 1775–1851, British, undated, Line engraving, trial proof

Publius Virgilius Maro, William Blake, 1757–1827, British, Published by Robert John Thornton, 1768–1837, British, 1821, Etching and line engraving on medium, slightly textured, cream wove paper, Spine: 7 1/8 inches (18.1 cm), Sheet: 7

Young's Night Thoughts, Page 70, ''Till Death, That Mighty Hunter, Earths Them All', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Abraham's Offering, John Alexander, active 1715–1752, British, after Raphael, Italian, 1483–1520, Italian, 1718, Etching and engraving, Sheet: 10 3/4 x 18 1/4in. (27.3 x 46.4cm

Linlithgow, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, first published state

Villa Madama (vignette), Print made by Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper,

Hymn of the Calabrian Shepherds to the Virgin, Charles Rolls, 1800–active 1830, British, after Sir David Wilkie, 1785–1841, British, 1829, Engraving, Sheet: 7 15/16 x 4 15/16in. (20.2 x 12.6cm

Cardinal Wolsey, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1738, Line engraving on medium, slightly textured, cream wove paper

Dutch Fire Side, Print made by William Finden, 1787–1852, British, after Charles Robert Leslie, 1794–1859, British, 1823, Line engraving on medium, slightly textured, cream wove paper

The Dead Sea, Jericho and the Mouth of the Jordan, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

Joseph Goupy, Print made by Richard Bean, 1792–1817, after Michael Dahl, 1656–1743, Swedish, active in Britain (from 1682), Published by C. Dyer, active ca. 1810, British, between 1807 and 1817, Line engraving on medium, moderately

Tivoli, a Composition, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Etching and line engraving; first published state on moderately thick, slightly textured, cream

Achaz, 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

Bruce Castle, Tottenham, Middlesex, unknown artist, after Thomas Worlidge, 1700–1766, British, 1794, Engraving

Religion, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1793, Engraving

Golders Green, William Birch, 1755–1834, British, after John Russell, 1745–1806, British, 1789, Stipple engraving

Fort Augustus (Vignette), William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

Gate of Calais, O the Roast Beef of Old England, Print made by William Radclyffe, 1780–1855, British, after William Hogarth, 1697–1764, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper

Death of Lord Darnley, Print made by Anker Smith, 1759–1819, British, after Mather Brown, 1761–1831, American, active in Britain, Published by J. Stratford, active 1792–1813, British, 1810, Etching and line engraving on thin,

Richmond, Yorkshire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving and etching, 2nd state on moderately thick, slightly textured, cream, wove paper, with cream, chine

King Henry VI, George Vertue, 1684–1756, British, after drawing by George Vertue, 1684–1756, British, after painting by unknown artist, 1732, Line engraving on medium, slightly textured, cream, laid paper, mounted on, moderately

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

Sheet of Anatomical Studies of the Shoulder Muscles, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Leonardo da Vinci, 1452–1519, Italian, 1796, Engraving

Exeter, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, touched

Louth, Lincolnshire, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Charles Mordaunt, Earl of Peterborough, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), between 1738 and 1742, Line engraving on medium, slightly textured,

John Opie, Esqr., R. A., Print made by William Ridley, 1764–1838, British, after John Opie, 1761–1807, British, 1798, Stipple engraving, portrait

King George I, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1746, Line engraving on medium, slightly textured, cream laid paper

Julius Caesar Ibbetson, Print made by Robert Cooper, ca. 1800–1836, British, after John Raphael Smith, 1752–1812, British, undated, Stipple engraving, crayon manner, line engraving, and etching on medium, slightly textured, beige

Geometrical Construction of the Freeze and Battlements in the House of Commons, Print made by John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1805, Line engraving on sligthly texured, moderately thick,

Jacob Bates / The Famous English Horse Rider, Georg Paul Nusbiegel, 1713–1776, 1766, Engraving, Sheet: 14 3/8 x 18 3/4in. (36.5 x 47.6cm

Robertus van Voerst, Calcographus Londini, 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

A View taken near Limehouse Bridge, looking down the Thames, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

Macbeth, Act I, Scene II, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Philippe-Jacques de Loutherbourg, 1740–1812, French, active in Britain (from 1771), 1784, Engraving

Jerusalem from the Latin Convent, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

A View of the New Tower and part of the Great Kitchin Window of Arundel Castle, Sussex (published by J. Sewell); page 13 (Volume One), Samuel Rawle, 1771–1860, British, after John Nixon, ca. 1760–1818, British, 1802, Engraving

Both sides of a Coin, showing Man's Head with Oak Leaf Wreath and a ? Fruit and Knife, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Coronation of King William IV and Queen Adelaide, William Woolnoth, active 1806–1830, British, after George Cattermole, 1800–1868, British, 1831, Engraving, hand-colored

Prospectus Westmonasteriensis Londini, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 14 1/4 x 18 11/16in. (36.2 x 47.5cm

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 Remains of the Senatorial Bridge on the Tyber; now call'd Ponte Rotto over this Bridge the Senate all ways pass'd to Consult the Sybills Books at Monte Gianiculo, unknown artist, eighteenth century, 1768, Engraving, cityscape, Rome

Henry VII Chapel at Westminster Showing Two Renovated Pinacles, Print made by Augustus Charles Pugin, 1762–1832, French, Print made by John Bluck, active 1791–1831, British, Formerly print made by unknown artist, undated, Etched and

Shepherds, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving and stipple engraving on moderately thick, slightly textured, beige, wove paper, with gray chine colle, Sheet: 17 1/4 ×

The Coquette, Print made by Henry Ryall, 1811–1867, British, after Alfred Edward Chalon, 1780–1860, British, undated, Engraving with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 7 11/16 × 5 1/16

London Wall, Tower Postern, Print made by John Wykeham Archer, 1808–1864, British, 1843, Etching, line engraving, and roulette on medium, slightly textured, cream wove paper

3. The Whipper-In Trown Out / Piqueur qui a Perdu la Piste, 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 Bruiser, William Hogarth, 1697–1764, British, 1763, Line engraving on medium, slightly textured, cream laid paper, Sheet: 15 3/4 × 12 inches (40 × 30.5 cm), Plate: 15 × 11 1/8 inches (38.1 × 28.3 cm), and Image: 13 1/8 × 10 1/4

Sensibility, 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, 1789, Stipple engraving and

Bolton Abbey, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with beige, chine colle, Sheet: 14 1/2

The Nile, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Havre, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof on thick, rough, cream, wove paper, with cream, chine colle, Sheet: 12 1/8 × 17 1/2 inches

Approach to Venice, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Emma, John Jones, ca. 1745–1797, British, after George Romney, 1734–1802, British, 1785, Stipple engraving, printed in colors

Moss Dale Fall, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching on medium, slightly textured, cream, laid paper, mounted on, moderately thick,

Mint, J. Shury, active 1812, after unknown artist, undated, Engraving

Illustmus. Joannes, Com. de Tserclaes. Dom. Tilli. Baro. de Morbays, Dom. de Ballast. Montig. Holers. Heeswyck, Dynter, Etc., Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain

Queen Mary II, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Gaspare Netscher, 1636–1684, 1750, Line engraving on medium, slightly textured, cream laid paper

Parnassus and Castalian Spring, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving on thick, slightly textured, crea, wove paper, with cream, chine colle,

Galileo's Villa (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 textured, cream wove paper

Bombardment of Sweaborg, after John Wilson Carmichael, 1799–1868, British, Published by Virtue, active 1820s–1908, British, ca. 1860, Line engraving on medium, slightly textured, cream wove paper

Mereworth Castle, the Seat of the Right Honble. Lord le Despencer, Print made by unknown artist, (J. Appleton), after William Daniell, 1769–1837, British, Published by Edward Churton, active 1835, British, ca. 1840, Etching and line

The Refusal, John Goldar, 1729–1795, British, after John Collet, ca. 1725–1780, British, Published by Thomas Bradford, active 1763–died 1773, British, 1768, Line engraving and etching on moderately thick, moderately textured, cream

Westminster Abbey, James S. Storer, 1771–1853, British, after Frederick Nash, 1782–1856, British, 1805, Engraving

Analysis of Beauty, Plate I: A Statuary's Yard, William Hogarth, 1697–1764, British, 1753, Engraving on paper, Sheet: 14 1/4 x 19in. (36.2 x 48.3cm

The Imposture of the Holy Maid of Kent, Print made by Isaac Taylor, 1759–1829, British, after Henry Tresham, 1751–1814, British, Published by Robert Bowyer, 1758–1834, British, 1796, Line engraving on medium, slightly textured,

George Gordon Byron, sixth Baron Byron, after Richard Westall, 1765–1836, British, Published by Fisher, Son & Co., active 1821–1848, British, 1829, Line engraving on medium, slightly textured, cream wove paper

The City of London from London Bridge, S.E., James Redway, active 1827–1838, after George Fennell Robson, 1788–1833, British, 1828, Engraving

Nobilissimus et Integerrimus Vir, D. Paulus Halmalius, Senator Ant., Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple

Seat of Sir Gregory Page Turner Bart at Blackheath in Kent, William Watts, 1752–1851, British, after William Watts, 1752–1851, British, 1782, Engraving, Sheet: 6 3/8 x 8 7/8in. (16.2 x 22.5cm

Evening, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, 3rd state on medium, smooth, beige, wove paper, Sheet: 10 9/16 × 6 1/16 inches (26.8 × 15.4 cm) and

Aysgarth Force, John Scott, 1774–1828, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream,

William Woollett, John Keyse Sherwin, c.1751–1790, British, after John Keyse Sherwin, c.1751–1790, British, 1784, Line-engraving, published state, Sheet: 11 1/2 x 9 1/4in. (29.2 x 23.5cm

Simon Lord Lovat, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1746, Etching with line engraving, Sheet: 15 1/4 × 9 3/8 inches (38.7 × 23.8 cm

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

Montjen, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Plate XII: Perspective View of the Linen Hall in Dublin, with the Boxes and Bales of Linen ready for Exportation, the Emblems of their Industry, William Hincks, 1752–1797, after William Hincks, 1752–1797, 1791, Stipple engraving

Loch Lomond, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, early engraver's proof on medium, slightly textured, beige, wove paper, with gray, chine colle, Sheet:

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