Images at Librifly

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Sensibility, Print made by Richard Earlom, 1743–1822, British, after George Romney, 1734–1802, British, 1789, Stipple engraving and etching on moderately thick, moderately textured, cream laid paper, Sheet: 14 9/16 × 11 7/16 inches

Nicholas Hilliard, William Camden Edwards, 1777–1855, British, after George Perfect Harding, 1780–1853, British, after Nicholas Hilliard, ca. 1547–1619, British, Published by John Major, active 1828–1833, British, 1826, Line

Interior of Salters Hall Meeting, unknown artist, ( Dale ), after Thomas Hosmer Shepherd, 1792–1864, British, 1822, Engraving

The Prophet Jeremiah, 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

Stamford, Lincolnshire, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

View of London, unknown artist, seventeenth century, after Peter H. Schut, 1618 or 1619–1660, Dutch, undated, Engraving

A Village Fair, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving and etching, 1st state on moderately thick, smooth, beige, wove paper, Sheet: 11 5/8 × 6 3/8 inches

Château of Amboise, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with cream,

The Thames at Mortlake, Print made by William John Cooke, 1797–1865, Irish, after Joseph Mallord William Turner, 1775–1851, British, 1836-1838, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with

William Kent, Alexander Bannerman, ca. 1730–1780, after William Aikman, 1682–1731, British, formerly after unknown artist, 1762, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 7/8 x 9 1/4 inches (30.2 x 23.5

Robert Dudley Earl of Leicester, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1738, Line engraving on medium, slightly textured, cream wove paper

Martello Towers at Bexhill, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1817, Etching and engraving, Engraver's proof on thick, slightly textured, cream, wove paper, Sheet: 11

Ruins of St. Paul Covent Garden, Thomas Medland, 1755–1823, British, after Edward Dayes, 1763–1804, British, 1795, Engraving, Sheet: 4 1/8 x 6 1/4in. (10.5 x 15.9cm), architectural subject, church, cityscape, columns (architectural

Antonius Morus Ultraiectinus Pictor, Print made by Esme de Boulonois, active 1645–1681, French, between 1645 and 1681, Line engraving and etching on medium, slightly textured, beige laid paper; page in book, Sheet: 7 11/16 x 5 7/8 inches

Inside view of the Supper-room & part of the Ball-room in a Pavilion erected for a Fete Champetre in the Garden of the Earl of Derby, Print made by James Caldwall, 1739–1819, British, and Charles Grignion, 1717–1810, British, after Robert

Nicholas Laniere, Print made by Thomas Chambars, ca. 1724–1789, British, after Jan Lievens, 1607–1674, Dutch, undated, Etching and line engraving on moderately thick, smooth, beige wove paper, Sheet: 11 7/8 x 9 1/16 inches (30.2 x 23

Marks Hall, Essex, Outer Suburb - East, John Greig, active 1800–1853, British, after Samuel Prout, 1783–1852, British, 1805, Engraving

The School of Homer, Scio, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, third state on medium, moderately textured, beige, wove paper, with beige,

Felice Salimbeni, George F. Schmidt, 1712–1775, after George F. Schmidt, 1712–1775, 1751, Etching and engraving on medium, slightly textured, beige, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper,

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

Studies for the Instruction of Painters, two suites. Rome, c. 1630, Print made by Oliverio Gatti, 1568–1651, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Giacomo de Rossi, 1627–1691, Italian, undated,

Arab of Loheia, Tribe Beni Koreish, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Harewood House, Print made by John Scott, 1774–1828, British, after Joseph Mallord William Turner, 1775–1851, British, Published by Robinson, Son & Holdsworth, active 1813–1816, British, 1816, Etching and line engraving on medium,

The Great Exhibition: Exterior View from the Southwest, Print made by George Baxter, 1804–1867, British, 1851, Aquatint, stipple engraving, and etching with color woodcut on medium, smooth, cream wove paper, surrounded with gold

The Southwest Prospect of the Church of St. Giles without Cripplegate, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1737, Engraving, Sheet: 11 x 12 1/4in. (27.9 x 31.1cm

A Garden, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st state on moderately thick, slightly textured, cream, wove paper, with gray, chine colle, Sheet:

A View of Hammersmith looking down the Thames, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1752, Hand colored engraving

South West View of Sadler's Wells, William Wise, Active 1823–1876, British, after R. C. Andrews, active 1792–1798, British, 1814, Engraving

Miss Francis Isabella Gordon, Print made by Peter Simon, 1750–1810, after Sir Joshua Reynolds RA, 1723–1792, British, 1789, Mezzotint with stipple engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 15 7/16 ×

The Savoy in 1650, Print made by John Thomas Smith, 1766–1833, British, after Wenceslaus Hollar, 1607–1677, Bohemian, 1792, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Dumbarton Castle, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

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

Dom: Antonius de Zuniga et Davila, Marchio Mirabellæ, Comes Brantevillæ, Ordinis Calatrenis., Philip. IV, Hispanum. regia Supremis Consilys Status etc., Coenrad Waumans, born 1619–active 1636/37, Flemish, after Sir Anthony Van Dyck,

Distant View of Chester, William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, 1803-1810, Line engraving, engraver's proof

East View of the Old Cloisters Belongong to the Collegiate Church of St. Katherine, Francis Perry, active 1750s–1760s, British, after unknown artist, 1764, Engraving, Sheet: 8 1/8 x 11 7/8in. (20.6 x 30.2cm

Mr. John Stow, Historian, George Vertue, 1684–1756, British, after George Vertue, 1684–1756, British, undated, Line engraving on medium, slightly textured, beige, laid paper, mounted on, moderately thick, slightly textured, cream,

Havre, Tower of Francis I, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

Sir Balthazar Gerbier, Print made by Thomas Chambars, ca. 1724–1789, British, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), undated, Line engraving and stipple engraving on

View of the Canal in St. James's Park, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after John Maurer, active 1713–1761, 1746, Hand colored engraving

Benjamin Jonson, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Isaac Oliver, ca. 1565–1617, French, active in Britain, 1738, Line engraving on medium, slightly textured, cream laid paper

Catherine Howard, Queen of King Henry VIII, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland and England, between 1747 and 1752, Line engraving on medium,

John Paul Jones, Print made by Henri Toussaint, 1849–1911, French, 1906, Etching and line engraving on moderately thick, moderately textured, cream wove paper with cream chine colle, Sheet: 27 7/16 × 21 5/8 inches (69.7 × 54.9 cm),

Robert Ker Porter, Anthony Cardon, 1772–1813, Flemish, after Joseph Wright of Derby, 1734–1797, British, active in Italy (1773–75), 1806, Stipple engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 7 3/16 ×

A Farewell - Lake of Como No. II, 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

Londinium, London. General Prospect before the Great Fire of 1666, Joseph F. Leopold, 1668–1726, after unknown artist, undated, Engraving

Masque aux Cheveux D'Or, Jean-Emile Laboureur, 1877–1943, French, 1913, Color wood engraving, Sheet: 11 1/2 x 8in. (29.2 x 20.3cm

Lake of Nemi, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, ca. 1844, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

A View of Oxford from the Abingdon Road, Print made by John Pye, 1782–1874, British, Figures by Charles Heath, 1785–1848, British, after Joseph Mallord William Turner, 1775–1851, British, Published by James Wyatt, active 1811–1834,

Loch Leven Castle, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof, touched

Junction of the Greta and the Tees, Print made by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, before title on medium, slightly textured, cream wove paper with chine-coll

In quel momento il monte, e il piano scosse / ..., Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1773, Engraving

A View of Lincoln Hill, with the Iron Bridge in the Distance, James Fittler, 1758–1835, British, after George Robertson, 1749–1788, British, 1788, Engraving

Rome; Bridge and Castle of St. Angelo on the Tyber, George Hollis, 1792–1842, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Line engraving and etching on moderately thick, slightly textured, cream wove paper,

Stamford, Lincolnshire, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (early

The Double Deliverance, 1588–1605, Print made by unknown artist, seventeenth century, after Samuel Ward, 1577–1640, British, 1621, Etching and line engraving on medium, slightly textured, cream laid paper, Sheet: 15 5/8 × 20 1/2

Junction of the Greta and Tees at Rokeby, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Etching and line engraving on moderately thick, slightly textured, cream, wove paper, Sheet:

The Prophet Jonah, 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

Copenhagen House, Islington, John Swaine, 1775–1860, British, after John Swaine, 1775–1860, British, 1854, Engraving, Sheet: 4 5/8 x 6 1/2in. (11.7 x 16.5cm

Sussex Place, Regents' Park, Charles Heath, 1785–1848, British, after William Westall, 1781–1850, British, 1825, Engraving

Portrait of Peter Paul Rubens, unknown artist, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), Between 1778 and 1834, Etching and stipple engraving on thick, rough, cream, laid paper,

Francis, Lord Cottington, Jacobus Houbraken, 1698–1780, Dutch, after unknown artist, 1743, Engraving; Proof before letters, with engraver's name and date only, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm), DON'T USE: 18 1/2in. (47cm), and

The Forum (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

The Death of the Stag, Print made by Andrew Lawrence, 1708–1747, French, and Thomas Major, 1714–1799, British, after Philip Wouvermans, 1619–1668, Dutch, 1753, Engraving and etching on moderately thick, moderately textured, cream,

The Mob Destroying and Setting Fire to the King's Bench Prison and House of Correction, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Book of Job, Plate 12, The Wrath of Elihu, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/8 × 10 5/8 inches (38.4 × 27 cm), Plate: 8 1/2 × 6 5/8 inches (21.6 × 16.8

Turner, R.A., Print made by William Roffe, active 1845–1889, after Edward Hodges Baily, 1788–1867, British, Published by Virtue, active 1820s–1908, British, 1858, Stipple engraving on medium, slightly textured, cream wove paper

Rietz near Saumur, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof (early

The Acropolis of Athens, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Etching and engraving, Engraver's Proof on moderately thick, slightly textured, beige, wove pper, with

Shakspeare, Edward Scriven, 1775–1841, British, 1835, Stipple engraving, line engraving and etching on wove paper, Image: 5 1/8 x 4in. (13 x 10.2cm) and Sheet: 10 1/2 x 6 3/4in. (26.7 x 17.1cm

St. Knighton's Kieve near Boscastle, after Thomas Allom, 1804–1872, British, Published by Fisher, Son & Co., active 1821–1848, British, 1834, Etching and line engraving on medium, slightly textured, cream wove paper

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

Plate 3, The Idle 'Prentice at Play in the Church Yard during Divine Service, 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

Westminster Hall, John Greig, active 1800–1853, British, after Frederick Nash, 1782–1856, British, 1804, Engraving

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

View from Richmond Hill, Environs - South, James S. Storer, 1771–1853, British, after Joseph Powell, 1780–1834, British, 1805, Engraving

Northwest View of the Interior of St. Alphage Church London Wall, William Wise, Active 1823–1876, British, after Robert Bremmel Schnebbelie, active 1803–1849, 1815, Engraving, Sheet: 10 x 11 7/8in. (25.4 x 30.2cm

The Grèves from the Summit of Mount St Michael, Print made by Thomas Higham, 1796–1844, British, after Clarkson Stanfield, 1793–1867, British, 1836, Etching and line engraving on medium, slightly textured, cream wove paper

A View of Several Palaces at Naples at Sun Rise, Print made by unknown artist, (Dubois), Published by John Bowles, 1701–1779, British, undated, Etching and line engraving on medium, slightly textured, cream laid paper, laid on

Rhodes, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on medium, slightly textured, beige, wove paper, Sheet: 6 1/8 × 8 11/16 inches (15.6 × 22.1 cm) and

Plate 32 (page 70): 'Till death, that mighty hunter, earths them all', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

The Court of the Magnificent Building of the Ducal Palace over the front are seen the Cupolo's of St. Mark's Church., Thomas Bowles, ca. 1712–died 1753, British, after unknown artist, (Marieschi, M.), undated, Hand-colored engraving on wove

For Children. The Gates of Paradise, Plate 16, 'The Traveller hasteth in the Evening', Print made by William Blake, 1757–1827, British, 1793, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 5

St. Antholin's, Thames Street, Samuel Rawle, 1771–1860, British, unknown artist, undated, Engraving, Sheet: 11 3/4 x 9 1/2in. (29.8 x 24.1cm

St Martin-in-the-Fields, London: Elevation and Section, Print made by John Le Keux, 1783–1846, British, after unknown artist, undated, Etching and line engraving on slightly textured, moderately thick, cream wove paper, Image: 7 × 4 3/4

Admiral William Sidney Smith and The Seige of Acre, Anthony Cardon, 1772–1813, Flemish, And James Mitan, 1776–1822, British, after Sir Robert Kerr Porter, 1777–1842, British, 1804, Engraving on moderately thick, moderately textured,

Virginia Water No. 1, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Open etching and line engraving on moderately thick, slightly textured, cream, wove paper, with cream, chind

Baron Nelson of the Nile, Thomas Burke, 1749–1815, British, 1800, Stipple engraving, Sheet: 12 5/8 x 15 7/8in. (32.1 x 40.3cm

Junction of the Greta and the Tees, Print made by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, second state on medium, slightly textured, cream wove paper with chine-coll

Cornelius Ketel, Print made by Thomas Chambars, ca. 1724–1789, British, after unknown artist, undated, Etching and line engraving on moderately thick, smooth, cream wove paper, Sheet: 12 3/16 x 9 3/16 inches (31 x 23.4 cm), Plate: 6 7/8 x

Chapel, Charter House, unknown artist, nineteenth century, after unknown artist, undated, Engraving, Sheet: 2 7/8 x 2 1/8in. (7.3 x 5.4cm

'Cries of London' Plate 4: 'Do you want any Matches?', Anthony Cardon, 1772–1813, Flemish, after Francis Wheatley, 1747–1801, British, 1794, Colored engraving with stipple, DON'T USE: 16 x 12in. (40.6 x 30.5cm

Henry Raeburn, William Walker, 1791–1867, British, after Henry Raeburn, 1756–1823, British, 1826, Stipple engraving on thick, slightly textured, cream, wove paper, Sheet: 21 7/8 × 15 7/8 inches (55.6 × 40.3 cm), Plate: 19 1/16 ×

Veue de Mall dans St. James's Park, William Henry Toms, ca. 1700–ca. 1750, British, after Jean B. C. Chatelain, 1710–1771, French, 1752, Hand colored engraving

Windsor Castle in the Reign of Queen Elizabeth, engraved for Gentleman's Magazine, Print made by John Swaine, 1775–1860, British, 1850, Line engraving on medium, slightly textured, cream wove paper, Sheet: 5 9/16 × 8 3/4 inches (14.1 ×

Barnes, Surrey, Richard Winkles, active 1830, after G. T. Philips, 1830, Engraving on smooth, thin, white wove paper, Sheet: 5 1/4 × 6 13/16 inches (13.3 × 17.3 cm) and Image: 3 13/16 × 6 inches (9.7 × 15.2 cm), architectural subject

Plymouth Sound, 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 with

Nobilissimus Vir Ac D. Emanuel Frockas Finyra. et Pimentel Comes de Feria Eqes ordinis Militaris S. Jacobi Dominus Sæ. Benedictæ Regiæ ac Catholicæ Suæ Maiestatis Consiliarius Cubicularius Etc., Paulus Pontius, 1603–1658, Flemish, after

Herstmonceux Castle, Sussex, William Tombleson, ca.1795–1835, British, after Henry Gastineau, 1791–1876, British, undated, Engraving, (verso) graphite on smooth, medium, cream wove paper, Sheet: 5 3/4 × 3 7/8 inches (14.6 × 9.8

Samuel Johnson, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving, Sheet: 10 x 7 1/2in. (25.4 x 19.1cm

Fox Hunting: The Earl of Darlington and His Fox Hounds, John Dean, 1754–1798, British, after Benjamin Marshall, 1768–1835, British, 1810, Color printed engraving, Sheet: 21 3/8 x 25 1/4in. (54.3 x 64.1cm

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