Images at Librifly

search results: Engraving clear search

The House of the Cevaliere D'eon at Tonnerrel, Print made by William Thomas, active 1783– died 1800, Published by John Sewell, active 1735–1802, British, 1791, Line engraving on medium, slightly textured, cream wove paper

Cornelius de Vos, Pictor Iconum Antuerpiæ, 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 and line engraving on

Reflections on Clarissa Harlow, Gabriel Scorodomoff, 1748–1792, after Sir Joshua Reynolds RA, 1723–1792, British, 1785, Stipple engraving on thick, moderately textured, cream, wove paper, Sheet: 18 5/8 × 14 5/8 inches (47.3 × 37.1

Plan of Peterborough House, unknown artist, after unknown artist, 1807, Engraving

A Plan of the Ground and Buildings in the Strand, called the Savoy, taken in the Year 1736, George Vertue, 1684–1756, British, after George Vertue, 1684–1756, British, 1754, Engraving

The Woodman's Return, John Whessell, 1760–ca. 1823, British, after Francis Wheatley, 1747–1801, British, 1797, Colored stipple engraving on medium, slightly textured, cream, wove paper, Sheet: 24 1/4 × 18 7/8 inches (61.6 × 47.9 cm)

Sassa, John Beugo, 1759–1841, British, after James Bruce, 1730–1794, British, undated, Engraving

The Southwark Iron Bridge, Print made by George Cooke, 1781–1834, British, after Samuel Prout, 1783–1852, British, Published by Longman, active 1804–1914, British, 1828, Etching and line engraving on medium, slightly textured,

Ramah and Rachel's Tomb, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

The Works of the New London Bridge, George Cooke, 1781–1834, British, after Edward William Cooke, 1811–1880, British, after Clarkson Stanfield, 1793–1867, British, 1827, Engraving, Sheet: 7 13/16 x 8 3/4in. (19.8 x 22.2cm

Trematon Castle, Cornwall, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (touched

The Complaint and the Consolation; or Night Thoughts (and title page), William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving, Spine: 16 3/4in. (42.5cm) and Sheet: 16 1/2 x 12 3/4in. (41.9 x

Dodbery and Verges, with the Watch; 'Much Ado About Nothing', Act III, Scene II, Robert Mitchell Meadows, Died before 1812, British, after Henry William Bunbury, 1750–1811, British, 1794, Engraving and stipple engraving on moderately

Abbotsford from the Northern Bank of the Tweed, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving, engraver's proof

Lillebonne, Chateau and Tower, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving

The Charity-Children in the Strand on the 7th July 1713 at a Public Procession of Thanksgiving for Peace en route to St. Paul's Cathedral, George Vertue, 1684–1756, British, after George Vertue, 1684–1756, British, 1715, Hand colored

Chevalier Pinto, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Domingos Antonio de Sequeira, 1768–1837, Portuguese, before 1797, Stipple engraving and etching on medium, slightly

Illustrations to Samuel Richardson's 'The Life of Pamela', illustrated by Joseph Highmore, Guillaume Philippe Benoist, 1725–ca. 1770, French, after Joseph Highmore, 1692–1780, British, 1762, Engraving, Plate: 11 3/4 x 14 13/16in. (29.8

No. 2 A Table of Heiroglyphics found at Axum, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1771-1789, Engraving

Taming Of The Shrew, Act III, Scene II, Peter Simon, 1750–1810, after Francis Wheatley, 1747–1801, British, 1795, Engraving and stipple engraving on thick, moderately textured, beige, wove paper, Sheet: 22 7/8 × 28 13/16 inches

A View of the Tower, Taken upon the Thames, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1751, Hand colored engraving

A Midnight Modern Conversation, Print made by William Hogarth, 1697–1764, British, 1733, Engraving, Sheet: 12 7/8 × 17 7/8 inches (32.7 × 45.4 cm), bottles, candlesticks, clock, conversation piece, drinking, food, furniture, genre

An Old Oak, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on moderately thick, slighty textured, beige, wove paper, with beige, chine colle, Sheet: 17 3/8 ×

Bridge over St. Cloud from Sevres, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof, early

Mussooree and the Dhoon from Landour, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof

Eliakim, 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

Gerardus Segers, 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 engraving on medium, slightly textured, blued

William Sommers, King Henry VIII's Jester, Print made by R. Clamp, fl.1789–1798, after Sylvester Harding, 1745–1809, British, undated, Colored stipple engraving and etching on medium, slightly textured, beige laid paper, Sheet: 6 1/2 x

The Bear Garden, The Globe Theatre, Bankside, Southwark, Edward John Roberts, 1793–1865, British, after unknown artist, 1825, Engraving, Sheet: 11 11/16 x 7in. (29.7 x 17.8cm

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

A Village Fair, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on moderately thick, slightly textured, cream, wove paper, with gray, chine colle, Sheet: 16

Pope's Villa, 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 Longman, active 1804–1914, British, 1811, Etching and

The Dipping Well in Hyde Park, James Godby, active 1790–1820, British, after Francis Wheatley, 1747–1801, British, 1802, Engraving

Lake of Albano, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Open etching and line engraving, engravers proof on moderately thick, slightly textured, cream, wove paper, with beige

The Relief, William Dickinson, 1746–1823, British, after Henry William Bunbury, 1750–1811, British, Published by William Dickinson, 1746–1823, British, 1781, Stipple engraving and etching on moderately thick, slightly textured,

Dudley Priory, Worcestershire. Plate II for Grose's Antiquities of England and Wales., Daniel Lerpiniere, c.1745–1785, British, after unknown artist, (L., D.), 1775, Engraving

'Cries of London' Plate 5: 'New Mackrel, New Mackrel', Niccoló Schiavonetti, 1771–1813, Italian, after Francis Wheatley, 1747–1801, British, 1795, Colored engraving with stipple, DON'T USE: 16 x 12in. (40.6 x 30.5cm

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

Cephalonia, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Etching and engraving, engraver's proof on thick, slightly textured, beige, wove paper, Sheet: 11 7/8 × 17

An Reinoides &c., Anguis &c. (The Copper-Belly Snake), Plate 46 from the 'Natural History of Carolina, Florida and the Bahama Islands', volume I, 2nd edition, London, 1754, Print made by workshop of Mark Catesby, 1682–1749, British,

Dido and Aeneas, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

A Perspective View of Westminster Abbey and St. Margaret's Church, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1753, Engraving

Richard Grosvenor, 1st Earl Grosvenor, Print made by Henry R. Cook, active 1802–1849, British, active in Britain and France, after Sir Joshua Reynolds RA, 1723–1792, British, 1806, Stipple engraving on moderately thick, moderately

Westminster Abbey, Richard Bernard Godfrey, 1728–op.1794, British, after Thomas Sandby RA, 1721–1798, British, 1775, Engraving

Royal Exchange, London, John Maurer, active 1713–1761, 1741, Engraving on medium, moderately textured, cream, laid paper, Sheet: 17 1/8 × 18 15/16 inches (43.5 × 48.1 cm), Plate: 16 1/8 × 18 1/2 inches (41 × 47 cm), and Image: 13 3/8

Maria Theresa Charlotte, Daughter of Louis the Sixteenth, Print made by John Jones, ca. 1745–1797, British, 1794, Stipple engraving, aquatint and etching on medium, slightly textured, cream wove paper

Entrance to Fowey Harbour, Cornwall, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Mary Isabella, Duchess of Rutland, Anthony Cardon, 1772–1813, Flemish, after Anne Mee, ca. 1760–1851, British, 1812, Stipple engraving on thick, slightly textured, cream, wove paper, with cream, chine collé, Sheet: 21 5/16 × 16

Salmon, 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

Guildhall, J. Pass, active 1796–1800, after J. Pass, active 1796–1800, 1814, Hand colored engraving

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

A Map of St. Sepulchers without Charterhouse Liberty and Clerkenwell Parish, unknown artist, eighteenth century, after unknown artist, undated, Engraving

A North View of London, John Stevens, active 1745–1746, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), 1794, Engraving

Malvern Abbey and Gate, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 3rd state on thick, slightly textured, beige, wove paper, Sheet: 10 11/16 × 14 3/4 inches

Brussels, Distant View, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, first published state

The Captive, Print made by Thomas Ryder, 1746–1810, Irish, after Joseph Wright of Derby, 1734–1797, British, active in Italy (1773–75), 1786, Etching and stipple engraving on medium, moderately textured, cream wove paper, Sheet: 18

Night, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1756, Etching and line engraving on moderately thick, moderately textured, cream laid

Caractacus at the Tribunal, A. Birrell, ca.1770–ca. 1820, British, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1792, Engraving, Sheet: 19 1/8 x 24 5/8in. (48.6 x 62.5cm

Talman, Sir Ralph Cole, and Marco Ricci, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 x 9 1/4 inches (29.8 x 23.5 cm), Plate: 7 1/4 x 5

Solitude, Thomas Smith of Derby, ca. 1720–1767, British, 1758, Etching and engraving, Sheet: 11 x 15 3/8in. (27.9 x 39.1cm

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

Winter's Tale, Act 3, Scene 3, John Neagle, 1796–1865, American, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1803, Engraving

Lillebonne, Chateau, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving

An Old Manor House, William Miller, 1796–1882, 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 5/8

Royal Hospital, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1751, Engraving, Plate: 10 1/2 x 15 15/16in. (26.7 x 40.5cm

Weymouth, Dorset, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1813, Etching and engraving. on thick, slightly textured, cream, wove paper, with Chine collé, Sheet: 14 7/8 ×

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

Welgelegen: Vue de la Facade de la Maison de Campagne nommee Welgelegen au Bois de Harlem, Appartenante a Mr. Henry Hope d'Amsterdam, Christian von Mechel, 1737–1817, Swiss, 1792, Colored engraving on textured, moderately thick, cream laid

Rhinoceros of Africa, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Plymouth from Mount Batten, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1817, Etching and engraving, Engraver's proof (touched) on thick, slightly textured, cream, wove paper,

Shakespeare's Winter Tale Act III Scene III, Samuel Middiman, ca. 1750–1831, British, after Joseph Wright of Derby, 1734–1797, British, active in Italy (1773–75), 1794, Engraving on thick, rough, cream, laid paper, Sheet: 21 3/8 ×

The South View of Kensington, James Roberts the Elder, 1725–1799, British, after Jean B. C. Chatelain, 1710–1771, French, 1750, Engraving

John Smith, Print made by Samuel Freeman, 1773–1857, British, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), undated, Stipple engraving and etching on moderately thick, slightly textured, cream wove paper,

The Cloisters, with Parts of the Guard Room & Chapel, Lambeth Palace, after C. John M. Whichelo, 1784–1865, British, John Roffe, 1769–1850, British, 1805, Engraving

St. Julian's, Tours, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, early proof, 1st state on thick, slightly textured, beige, wove paper, with gray,

Jane Shore, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sylvester Harding, 1745–1809, British, 1790, Engraving, portrait

Pastinaca (Parsnip), Plate 379 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, slightly textured, cream

An East Perspective View of the City of Philadelphia, in the Province of Pensylvania, in North America, taken from the Jersey Shore..., Print made by J. Carwitham, active 1720–1740, after George Heap, active 1715–1760, American,

Jumieges, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

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

Innocence Taught by Love and Friendship, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1784, Engraving

Bethlehem, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, first published state

Cerastes, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving, hand colored

Virtue directed by Prudence to Honor, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1784, Engraving

The Murder of David Rizzio on the 9th of March 1566, Isaac Taylor, 1759–1829, British, after John Opie, 1761–1807, British, 1803, Engraving, Sheet: 17 1/2 x 23 7/16in. (44.5 x 59.5cm

Hudibras, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1808, Engraving

View on the Seine between Mantes and Vernon, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Cowes, Isle of Wight, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (early

Palace of Justice, Bruges, Print made by William Wallis, 1794– active 1830, after Thomas Allom, 1804–1872, British, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 7 1/4 × 10 1/8 inches (18.4 × 25.7 cm

Windsor from the Forest, John Greig, active 1800–1853, British, after Joseph Mallord William Turner, 1775–1851, British, 1804-1805, Line engraving, engraver's proof

A View of Part of the Royal Gardens at Naples Towards the Sea, 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

Fall of Foyers, Invernesshire, Print made by Edward Radclyffe, 1809–1863, British, after Thomas Allom, 1804–1872, British, Published by Virtue, active 1820s–1908, British, 1836, Etching and line engraving on medium, slightly

King Richard II Act IV, Scene I: 'King Richard, Bolingbroke, Yorke, etc.', Benjamin West, 1738–1820, American, active in Britain (from 1763), after Mather Brown, 1761–1831, American, active in Britain, 1803, Engraving, Sheet: 19

Mrs. Hannah Sparke, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Hull, active 1778–1800, undated, Stipple engraving and etching in brown ink on medium, smooth, cream laid paper,

Coventry, Warwickshire, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, 2nd state on medium, slightly textured, cream, wove paper, with cream, chine colle, Sheet:

Tancarville, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving

Sir Francis Drake, Print made by Jacobus Houbraken, 1698–1780, Dutch, ca. 1745, Line engraving on medium, slightly textured, cream laid paper

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

Gertrude of Wyoming - the Waterfall, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

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

search results: Engraving clear search