Images at Librifly

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View of St. Malo in Britanny, Published by John Sewell, active 1735–1802, British, 1794, Line engraving on medium, slightly textured, cream wove paper

Adelaide, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John H. Benwell, 1762–1785, 1798, Line engraving

Diligence and Dissipation: The Modest Girl in her Bed Chamber (Plate 4), Print made by Thomas Gaugain, 1748–1812, French, and Thomas Hellyer, active 1800, British, after James Northcote, 1746–1831, British, 1797, Stipple engraving,

The South-East Prospect of King Henry The VII's Chapel at Westminster, Print made by William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1739, Line engraving on moderately textured, medium, white

Seal from the Indenture, James Basire, 1769–1822, British, after unknown artist, undated, Engraving, Sheet: 7 1/8 x 6 11/16in. (18.1 x 17cm

James Craggs, the Younger, George Vertue, 1684–1756, British, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1720, Stipple and line engraving on moderately thick, slightly textured, cream, laid paper,

Section of the Canja, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Jerusalem from the Mount of Olives, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

The Shepherd, Print made by George Richmond, 1809–1896, British, 1827, Engraving on moderately thick, slightly textured, cream wove paper with cream chine collé, Sheet: 8 15/16 x 6 9/16 inches (22.7 x 16.6 cm), Plate: 6 7/8 x 4 7/16

Ships in Distress, Richard Bernard Godfrey, 1728–op.1794, British, after Charles Brooking, 1723–1759, British, Published by Laurie & Whittle, 1755?–1836, British, 1796, Line engraving with hand coloring on moderately thick,

Jerusalem, Pool of Bethesda, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

None, Print made by Edward Francis Finden, 1791–1857, British, after Clarkson Stanfield, 1793–1867, British, Published by Charles Tilt, active c.1815–1853, British, 1832, Line engraving and etching on medium, slightly textured,

Cassandra, 'Troilus and Cressida', Act II, Scene IV, John Hamilton Mortimer, 1740–1779, British, after John Hamilton Mortimer, 1740–1779, British, 1776, Engraving, oval image, Sheet: 13 1/2 x 11 1/4in. (34.3 x 28.6cm

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

Edinburgh from Blackford Hill, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Marriage A-La-Mode, Plate I: The Contract, Gerard Jean Baptiste Scotin, 1671–1716, after William Hogarth, 1697–1764, British, 1745, Engraving, Sheet: 15 3/16 x 18 7/16in. (38.6 x 46.8cm

Scene Illustration: Milton's 'L'Allegro', Print made by Benjamin Fawcett, 1808–1893, British, after A. F. Lydon, 1836–1914, British, after John Leighton, 1822–1912, British, Printed by George Cargill Leighton, 1826–1895, British,

An Inside View of St. Paul's in London, John S. Muller, ca. 1715–1792, German, active in Britain, after unknown artist, 1794, Engraving

View of Grand Cairo, Print made by John Neagle, 1796–1865, American, after William Marshall Craig, ca. 1788–1828, British, Published by Samuel A. Walker, 19th century, 1828, Etching and line engraving on medium, slightly textured,

Walter Fawkes, Esq. of Farnley Hall Yorkshire, Thomas A. Woolnoth, 1785–1857, British, Thomas C. Wageman, 1787–1863, British, 1825, Engraving

Pamela on her knees before her Father, whom she had discovered behind the door having overturned the card table in the way. Sr. Simon Darnford his Lady & c. observing her with eagerness and admiration Mr. B struck with this scene is waiting the

Clarissimus Justus Lipsius Historiographus, Regius Professor Consliarius Etc., Schelte A. Bolswert, 1586–1659, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line

Portrait of Joseph Haydn, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after A. M. Olt, active 1792, Published by Hannah Humphrey, ca. 1745–1818, British, 1791, Stipple engraving and etching

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

Young's Night Thoughts, Page 24, 'Time, in Advance, behind Him Hides His Wings', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

William Russell, Earl of Bedford, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1738, Line engraving, stipple engraving and

The Revolt of the Fleet, 1642, John Harris, active 1686–1740, after Thomas Baston, active 1715–1721, after Louis Cheron, 1660–1713?, French, ca. 1710, Line engraving with hand coloring in watercolor on moderately thick, moderately

Moss Dale Fall, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with

The Gunpowder Plotters and their Execution in February 1606, unknown artist, seventeenth century, after unknown artist, undated, Engraving

St. Pierre's Cottage, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st state on moderately thick, slightly textured, beige, wove paper, Sheet: 11 5/8 × 6

Francis Cottington, first Baron Cottington, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1744, Line engraving on medium, slightly textured, cream laid paper

As You Like It: Act II, Scene VII: The Seven Ages Man (seventh age), Peter Simon, 1750–1810, after Robert Smirke, 1752–1845, British, 1801, Engraving

Near Plymouth with the Ordinance Wharfe..., Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after T. & I. Milton, 18th century, 1756, Color engraving

Edmond Waller Esquire, Print made by George Vertue, 1684–1756, British, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1727, Line engraving on medium, slightly textured, cream wove paper

A View of Wilton in Wiltshire the Seta of the Rt. Hon. Earl of Pembrooke, Luke Sullivan, 1705–1771, British, after Luke Sullivan, 1705–1771, British, 1759, Engraving, Plate: 14 3/8 x 20 3/8in. (36.5 x 51.8cm

Rome from the Farnesean Gardens, John Le Keux, 1783–1846, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and engraving on medium, smooth, cream, wove paper, with cream, chine colle, Sheet: 10

Illustrissimus Dñs D. Thomas Howardus, Comes Arundeliæ et Surreiæ, Primus Angliæ Comes, Dominus Howardi, Maltrauers, Mowbray, Segraue, Breus, Clum et Osestriæ, Comes Marescallus Angliæ, Nobilissimi Periscelidis Siue Gartery ordinis

The Four Times of Day, Plate III: Evening, Bernard Baron, 1696–1762, French, after William Hogarth, 1697–1764, British, 1738, Engraving, Sheet: 17 7/8 x 14 3/4in. (45.4 x 37.5cm

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

Venus standing by the Sea, Two Cupids carry Masks, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Distant View of Whalley Abbey, James Basire, 1769–1822, British, after Joseph Mallord William Turner, 1775–1851, British, 1800-1801, Line engraving, published state

Mardale Head, Westmorland, Print made by Ebenezer Challis, active 1837–1859, after Thomas Allom, 1804–1872, British, Published by Fisher, Son & Co., active 1821–1848, British, 1834, Line engraving on medium, slightly textured,

The Old and New London Bridge, Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1830, Hand colored engraving, Sheet: 12 15/16 x 16 1/2in. (32.9 x 41.9cm

John Milton, Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1760, Engraving, Sheet: 7 11/16 x 11 5/16in. (19.5 x 28.7cm

View of the City of New York: A South East View of the City of New York in North America, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Thomas Howdell, active ca. 1768, British, 1763, Color engraving, Sheet: 13 1/4

Miss Farren, Print made by Charles Knight, 1743–c.1826, British, after Sir Thomas Lawrence, 1769–1830, British, Published by John Jeffryes, active 1793–1804, British, 1791, Etching and stipple engraving (third state) on medium,

Tail Piece to the Artist's Catalogue, 1761, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1807, Line engraving and etching on medium,

Franciscus Franck Junior, Martinus van den Enden, active 1630–1654, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Etching and engraving on medium, moderately

Trinity Church, Southwark, R. Winkler, active 1830, after Nathaniel Whittock, 1791–1860, British, 1830, Engraving

Fox-hunting John Corbet, Esquire, and his Fox Hounds, Richard Woodman, 1784–1859, British, after Thomas Weaver, 1774–1843, British, 1814, Color printed engraving, Sheet: 18 11/16 x 25 1/8in. (47.5 x 63.8cm

The Happy Shepherd with a View of Childs Hill, Middlesex, John Peltro, 1760–1808, British, after unknown artist, 1784, Engraving

The Poet, 'A Midsummer Night's Dream', Act V, Scene I, John Hamilton Mortimer, 1740–1779, British, after John Hamilton Mortimer, 1740–1779, British, 1775, Engraving, Sheet: 15 1/2 x 12 7/16in. (39.4 x 31.6cm

Johanni Brasiliae Principi, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Vieira, 1765–1806, 1799, Engraving

Cheapside Cross, unknown artist, eighteenth century, after unknown artist, 1792, Engraving, Sheet: 8 7/8 x 6 7/8in. (22.5 x 17.5cm

Gilbert Burnet, Bishop of Salisbury, Jacobus Houbraken, 1698–1780, Dutch, after unknown artist, undated, Engraving on medium, moderately textured, beige, laid paper, Sheet: 5 7/16 × 3 1/8 inches (13.8 × 7.9 cm) and Image: 3 9/16 × 3

Exterior View of Astley's Amphitheatre, Print made by Charles John Smith, 1803–1838, British, after William Capon, 1757–1827, British, undated, Line engraving on medium, slightly textured, cream wove paper

Dr. Johnson, Peter Maverick, 1780–1831, American, after unknown artist, ( W. H. Brown ), undated, Engraving, Sheet: 7 1/2 x 4 1/2in. (19.1 x 11.4cm

Florence, from the Ponte alla Carraia, Samuel Rawle, 1771–1860, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and engraving on moderatley thick, slightly textured, cream, wove paper, with cream,

Mrs. Abington as 'Roxana', Print made by John Keyse Sherwin, c.1751–1790, British, after Sir Joshua Reynolds RA, 1723–1792, British, ca. 1791, Mezzotint with stipple engraving on moderately thick, moderately textured, beige, laid

Admiral William Carnegie, 7th Earl of Northesk, James Godby, active 1790–1820, British, And John Swaine, 1775–1860, British, after Henry Edridge, 1769–1821, British, 1806, Etching and engraving on moderately thick, slightly

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

Shooting The Pointer, Print commenced by John Scott, 1774–1828, British, and finished by John Webb, active 1830–1840, after Martin Theodore Ward, 1799–1874, British, 1831, Engraving, Sheet: 12 7/8 x 16in. (32.7 x 40.6cm

John Opie Esqr., R. A., Print made by William Ridley, 1764–1838, British, after John Opie, 1761–1807, British, 1801, Stipple engraving, portrait

Chateau de Tancarville with Town of Quilleboeuf, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving

View of the Orchestra in Vauxhall Gardens, unknown artist, eighteenth century, after unknown artist, 1778, Engraving, leisure, England, Lambeth, London, Southwark, United Kingdom, Vauxhall Gardens

Young's Night Thoughts, Page 95, 'The Goddess Bursts in Thunder and in Flame', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Inigo Jones, Alexander Bannerman, ca. 1730–1780, after unknown artist, 1762, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 x 9 1/4 inches (29.8 x 23.5 cm), Plate: 7 3/8 x 5 3/4 inches (18.7 x 14.6 cm), and

Aske Hall - from Whitaker's 'History of Richmondshire' 1818-1823, John Scott, 1774–1828, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching on medium, slightly textured, cream, wove

Ticket to the Masqued Ball, New Club, Soho, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1775, Line engraving

East India House, William Watts, 1752–1851, British, after William Watts, 1752–1851, British, 1800, Engraving

The Negligent Boy, Print made by Tiburce de Mare, 1840–1900, French, after William Mulready, 1786–1863, Irish, ca. 1868, Etching, line engraving, and stipple engraving on medium, smooth, cream wove paper, Sheet: 12 3/4 × 9 9/16

Venus, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1781, Engraving

The Transept of the Great Exhibition, Print made by W. Lacey, active 1827–1838, after John J. E. Mayall, 1813–1901, British, 1851, Line engraving on medium, slightly textured, cream wove paper

Ticket for the Benefit of Mr. Giardini, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), between 1769 and 1787, Etching and

Joanes Baptista Girri Foroliviensis, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Beggar's Opera, Act III, William Blake, 1757–1827, British, after William Hogarth, 1697–1764, British, c.1790, Engraving, Sheet: 17 7/16 x 22 9/16in. (44.3 x 57.3cm

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

Geometrical plan of his Majesty's Dockyard near Portsmouth, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Thomas Milton, active 1739–1756, British, shipping by John Cleveley the elder, ca.

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

Portrait of Louis XIV, King of France and Navarre, Richard Gaywood, active 1650–1680, Published by Peter Stent, active 1642–1665, British, undated, Etching and stipple engraving on moderately thick, slightly textured, cream laid paper,

Enchantments lately seen upon the Mountains of Wales, - or - Shon-ap-Morgan's Reconcilement to the Fairy Princess, James Gillray, 1757–1815, British, 1796, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Charing Cross, William Wise, Active 1823–1876, British, after unknown artist, 1814, Engraving, Sheet: 12 1/4 x 8 1/4in. (31.1 x 21cm

Mr. Thomas Hope's Picture Gallery, Duchess Street, London, unknown artist, (J Warren), after George Cattermole, 1800–1868, British, And after John Le Keux, 1783–1846, British, 1821, Engraving

The Man Sweeping the Interpreter's Parlour, William Blake, 1757–1827, British, ca. 1822, White-line metal cut engraving on medium, smooth, cream wove paper, Sheet: 7 x 9 1/8 inches (17.8 x 23.2 cm) and Plate: 3 1/8 x 6 3/8 inches (7.9 x

Plate XXV: Section of St. Stephen's chapel and crypt. As fitted up for the House of Commons. 1834., Print made by George Gladwin, active 1820s–1830s, after Robert William Billings, 1813–1874, British, 1835, Line engraving on smooth,

A View of the South Front of the North Side of the Marshalsea Prison, unknown artist, after James Lewis, 1751–1820, British, 1812, Engraving

Rome from Monte Mario, John Byrne, 1796–1847, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and engraving on moderately thick, smooth, cream, wove paper, with cream, chine colle, Sheet: 11 ×

Charlotte (née Percy) Ashburnham, Viscountess St.Asaph, Niccoló Schiavonetti, 1771–1813, Italian, after Anne Mee, ca. 1760–1851, British, 1812, Stipple engraving on thick, slighlty textured, cream, wove paper, with cream chine

Henry Bunbury, Esq., Thomas Ryder, 1746–1810, Irish, after Sir Thomas Lawrence, 1769–1830, British, 1789, Stipple engraving

Venus, Cupid and Satyr, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Luca Giordano, 1632–1705, Italian, 1767, Engraving

West-Combe in Kent, the Seat of the Marchioness of Lothian, Outer Suburb - South East, William Watts, 1752–1851, British, after Paul Sandby RA, 1731–1809, British, 1779, Engraving

The Charter House, James S. Storer, 1771–1853, British, after James S. Storer, 1771–1853, British, 1804, Engraving, Sheet: 6 3/4 x 8 1/4in. (17.1 x 21cm

Rhodes, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

Bermerside, John Horsburgh, 1791–1869, British, Print made by Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; touched engraver's proof on medium, slightly textured, cream wove paper with chine-coll

The Pool of Bethesda, Simon Francois Ravenet, 1721–1774, French, active in Britain, and Victor Marie Picot, 1744–1805, French, after William Hogarth, 1697–1764, British, 1772, Line engraving on moderately thick, slightly textured,

Putti assisting Woman carve a Bust of a Soldier, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Lochmaben Castle, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Kelso, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

James Gillray, Charles Turner, 1774–1857, British, after James Gillray, 1757–1815, British, 1819, Hand colored mezzotint, and steel engraving on moderately thick, moderately textured, cream, laid paper, mounted on, thick, slighlty

The Walls of Rome (Tomb of Caius Sestus), Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, third state on medium, slightly textured, beige, wove paper,

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