Images at Librifly

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Royat, France, Print made by James Baylis Allen, 1803–1876, British, after James Duffield Harding, 1798–1863, British, Published by Fisher, Son & Co., active 1821–1848, British, 1836, Line engraving on medium, slightly textured,

Canvassing for Votes, 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 textured, cream

The Ploughman, Print made by Edward Calvert, 1799–1883, British, 1827, Wood-engraving on medium, smooth, cream Asian paper, Sheet: 3 11/16 x 5 1/2 inches (9.4 x 14 cm) and Image: 3 3/16 x 5 inches (8.1 x 12.7 cm), agriculture, animal art,

Ruins of St Stephen's Chapel, Seen from the Roof of Westminster Hall, Print made by Robert William Billings, 1813–1874, British, after Robert William Billings, 1813–1874, British, 1835, Line engraving on smooth, moderately thick, white

Smailholme Tower (Vignette), Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and line engraving on medium, slightly textured, cream wove paper with chine-coll

St. Germains, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving (First Published State

London Bridge, John Woods, active 1836–1860, after Hablot Knight Browne, 1815–1882, British, And Robert Garland, c. 1808–1863, c. 1850, Engraving, Sheet: 5 1/2 x 7 1/16in. (14 x 17.9cm

William Tell's Chapel, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with

View of Greenwich Hospital, Philip Audinet, 1766–1837, British, after Edward Dayes, 1763–1804, British, 1798, Engraving

Edgar's Tower, Print made by Richard Bernard Godfrey, 1728–op.1794, British, after John Daniel Bond, ca. 1725–1803, British, 1778, Engraving on cream, medium, slightly textured wove paper, Sheet: 7 1/4 x 10 3/4in. (18.4 x 27.3cm) and

Rievaulx Abbey - from LIII - 'The Gallery of Modern British Artists' 1834-1836, Joseph C. Bentley, 1809–1851, British, after Joseph Mallord William Turner, 1775–1851, British, 1834-1836, Line engraving

Boy Playing by the Sea, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on moderately thick, moderately textured, cream wove paper mounted on thick,

St. John's House, Hoxton, unknown artist, ( Dale ), after Robert Bremmel Schnebbelie, active 1803–1849, 1823, Engraving, Sheet: 12 3/8 x 10 1/8in. (31.4 x 25.7cm

As You Like It: Act II, Scene VII: The Seven Ages Man (Third Age), Robert Thew, 1758–1802, British, after Robert Smirke, 1752–1845, British, Published by Boydell Shakespeare Gallery, 1720–1804, British, 1803, Engraving on medium,

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

The Last Supper, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Racing: 'Atlas' the Property of his Grace th Duke of Devonshire, J. Miller, active 1769–1825, British, after William Shaw, active 1758–1772, British, 1761, Engraving, Sheet: 12 1/2 x 15 3/4in. (31.8 x 40cm

Serenissimus Princeps Ferdinandus Austriacus S.R.E. Cardinalis Belgarum Bourgundorumq Gubernator etc., Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34;

Lieutenant General John Lambert, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Robert Walker, 1607–1660, British, 1739, Line engraving and etching on medium, slightly textured, cream laid paper

Chateau Gaillard, from the South, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Country Inn Yard, after William Hogarth, 1697–1764, British, Published by The London Printing and Publishing Company, 1833, Etching and line engraving on medium, slightly textured, cream wove paper

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

The Soldier's Dream (vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Etching and engraving, (Engraver's Proof

Narcissus, Benjamin Comte, 1760–1851, Swiss, and Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Vieira, 1765–1806, 1814, Engraving

Shakespeare in His Study, James Faed Sr., 1821–1911, British, after John Faed, 1820–1902, British, Published by Henry Graves & Co., ca. 1812–1892, British, Published by J. S. Earle & Son, active 1859, American, 1859, Mezzotint,

Theodorus Rombouts, Paulus Pontius, 1603–1658, 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 (2nd state) on medium, slightly

John Giles, John Miller, 1820–1871, after George Richmond, 1809–1896, British, And after Thomas Richmond, 1802–1874, British, c. 1850, Stipple engraving, Sheet: 9 x 7 5/8in. (22.9 x 19.4cm

Westminster Abbey, Thomas Medland, 1755–1823, British, after unknown artist, ( Miller ), 1796, Engraving

View of the Higher House of Parliament in England, Print made by unknown artist, Attributed to Jacob Gole, 1660–1737, Dutch, ca. 1695, Line engraving on slightly textured, medium thickness, white laid paper, Sheet: 18 1/2 × 15 1/8 inches

Launce Teaching his Dog Crab to behave as a Dog in all things - 'The Two Gentlemen of Verona, ' Act IV, Scene IV, unknown artist, after Henry William Bunbury, 1750–1811, British, 1794, Engraving and stipple engraving, Sheet: 16 1/2 x 18

Austin Friars Monastery Middlesex, John Coney, 1786–1833, British, after John Coney, 1786–1833, British, 1825, Engraving, Sheet: 9 5/8 x 13 5/8in. (24.4 x 34.6cm

Plate VIII, Human Body, Posterior View, Print made after George Stubbs, 1724–1806, British, 1804, Line engraving on moderately thick, slightly textured, cream wove paper, Sheet: 26 3/4 × 20 inches (67.9 × 50.8 cm), Plate: 20 × 15

South East View of the Abbey Church, St. Albans, Hertsfordshire, Outer Suburb - North, James S. Storer, 1771–1853, British, after George Shepherd, active 1782–1830, 1804, Engraving

Mal Cut Purse, unknown artist, 1793, Engraving, Sheet: 8 5/16 x 5 11/16in. (21.1 x 14.4cm) and Plate: 6 9/16 x 4 13/16in. (16.7 x 12.2cm

The Death of General Wolfe, William Woollett, 1735–1785, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1776, Line-engraving with etching, published state, Plate: 16 3/4 x 23 1/4in. (42.5 x 59.1cm),

Elizabeth Barton, Commonly called The Holy Maid of Kent, Practicing her Impositions, Print made by James Neagle, 1760–1822, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British,

Crossing the Brook, William Richardson, active 1842–1877, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

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

The Northeast Prospect of the Church of St. Martin, Outwich, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1736, Engraving, Sheet: 9 3/4 x 12 1/8in. (24.8 x 30.8cm

Fire Works after Aix la Chapelle, Henry Overton, 1675/6–1751, British, 1731-1748, Engraving

Dudley Priory in Worcestershire, Plate 1, 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

Richard III: Act IV, Scene III, Tower of London, Print made by William Skelton, 1763–1848, British, after James Northcote, 1746–1831, British, 1795, Etching and line engraving on medium, slightly textured, cream laid paper, Sheet: 29

Simon Du Bois, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 12 x 9 1/4 inches (30.5 x 23.5 cm), Plate: 7 3/8 x 5 1/2 inches (18.7 x 14 cm), and

Tornaro, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof (early

Charter House, unknown artist, seventeenth century-eighteenth century, after unknown artist, undated, Engraving, Sheet: 7 x 8 3/8in. (17.8 x 21.3cm

John Tillotson, Arch Bishop of Canterbury, 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

John Hawkesworth, Niccoló Schiavonetti, 1771–1813, Italian, after Sir Joshua Reynolds RA, 1723–1792, British, 1806, stipple engraving and line engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 8 13/16 × 5

Norman House, Northend, Fulham, Simon Watts, active 1812, after unknown artist, 1812, Engraving

Smailholme Tower (Vignette), Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Viscountess Bayham (afterwards Marchioness Camden), Print made by Luigi Schiavonetti, 1765–1810, Italian, after Sir Joshua Reynolds RA, 1723–1792, British, undated, Mezzotint with sipple engraving on moderately thick, moderately

Angelica Kauffmann, Print made by John Chapman, active ca. 1792–1823, British, after unknown artist, undated, Stipple engraving on medium, slightly textured, beige wove paper, Sheet: 4 3/4 x 3 1/8 inches (12 x 8 cm) and Image: 3 9/16 x 2

St. Jame's, Garrick Hill, Robert Acon, active 1828–1850, after unknown artist, undated, Engraving, architectural subject

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

E.S.E. View of John Bunyan's Meeting House, unknown artist, after unknown artist, 1814, Engraving

Ancestor of Christ from Naason Lunette (Left 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

Shakespeare's Monument at the Church at Stratford upon Avon, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, first published state, Image: 4 1/8 x 2 7/8in. (10.5

Shooting, Plate I, William Woollett, 1735–1785, British, after George Stubbs, 1724–1806, British, 1769, Engraving and etching, fifth published state, Sheet: 17 1/2 x 21 3/4in. (44.5 x 55.2cm) and Image: 15 1/2 x 20 7/8in. (39.3 x 53cm

The Cabinet, Thomas Morris, active 1771–1794, after unknown artist, undated, Engraving

Cotton Garden, Westminster, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1804, Engraving

Male Nude from Panel of 'Creation of Eve', 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

A View of the Ancient Palace called Placentia, in East Greenwich, James Newton, 1748–c. 1804, British, after unknown artist, 1789, Engraving

Ticket: Mr. Cox's Museum, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Biagio Rebecca, Italian, 1735–1808, Italian, 1772, Etching, line engraving, and stipple engraving on medium,

Love's Labour Lost, Act IV, Sc. 3, Anker Smith, 1759–1819, British, John Thurston, 1744–1822, British, July 16, 1803, Engraving

Breadstreet Ward and Cordwainer Ward, Benjamin Cole, 1697–1783, British, after unknown artist, 1755, Engraving

The Chamber Idyll, Print made by Edward Calvert, 1799–1883, British, 1831, Wood-engraving on thin, smooth, cream Asian paper, Sheet: 2 1/8 x 3 7/16 inches (5.4 x 8.8 cm) and Image: 1 5/8 x 3 1/16 inches (4.2 x 7.7 cm), apples,

Plate 34 (page 73): 'Draw the dire steel? -- ah no!-- the dreadful blessing', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Chaucer's Canterbury Pilgrims, William Blake, 1757–1827, British, 1810 to 1820, Engraving, Sheet: 13 3/4 x 37 5/8in. (34.9 x 95.6cm

The Tarentella, Print made by John Henry Robinson, 1796–1871, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Queen Margaret Resigning the Duke of York, Print made by Thomas Milton, 1743–1827, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1811, Etching and line engraving on thin,

Llanthony, Monmouthshire, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving and stipple engraving, 3rd state on moderately thick, slightly textured, cream, wove

Bee Cuckoo, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1790, Engraving

The Opening of the Walhalla, Charles Cousen, 1813?–1889, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

The Brook, Print made by Edward Calvert, 1799–1883, British, 1829, Wood-engraving on thin, slightly textured, cream Asian paper, Sheet: 3 7/16 x 4 7/16 inches (8.7 x 11.3 cm) and Image: 2 x 3 7/16 inches (5.1 x 8.8 cm), bees, brook,

Analysis of Beauty, Plate I, Print made by J. Barlow, active 1791, after William Hogarth, 1697–1764, British, Published by John Boydell, 1720–1804, British, 1791, Etching and line engraving on medium, slightly textured, cream wove

Crickieth Castle, North Wales, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (touched

Faun, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1787, Engraving

Young's Night Thoughts, Page 73, 'Draw the dire steel? -- ah no!', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine: 16

Land's End, Cornwall, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and line engraving on thick, rough, cream, wove paper, Sheet: 11 13/16 × 17 1/2 inches (30 × 44.5

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

Templum Neptuni Propre Puteolanum Urbem, Print made by Jacobus Bos, ca. 1520–ca. 1580, Dutch, Published by Antonio Salamanca, ca. 1500–1562, Spanish, Published by Antonio Lafreri, 1512–1577, French, 1541, Line engraving on medium,

Jumieges, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and line engraving, Engraver's proof

Athenaeum, Print made by R. F. Cahusac, active 1830, British, after Decimus Burton, 1800–1881, British, 1830, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Sheet: 12 15/16 x 18 7/8 inches (32.8 x 48

Conversation in the Manner of Van Dyck, Print made by J. Barlow, active 1791, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly

Richmond Castle and Town, Print made by John Wykeham Archer, 1808–1864, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, with

Marche aux Fleurs and Pont-au-Change, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof, touched (early

Ehrenbreitstein, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, engraver's proof on moderately thick, slightly textured, beige, wove paper, Sheet: 11 3/8 × 16 15/16

Hannibal passing the Alps (vignette), Print made by W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving with graphite and scraping; engraver's proof on medium, slightly

Tivoli (vignette), Print made by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving, engraver's proof on medium, slightly textured, cream wove paper

Mary Isabella Manners (née Somerset), Duchess of Rutland, John Keyse Sherwin, c.1751–1790, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1791, Stipple engraving, line engraving, and etching on moderately thick, slighlty

J.M.W. Esq. Western Suburb, William Bernard Cooke, 1778–1855, British, after William Havell, 1782–1857, British, active in India (1820–26), 1814, Engraving

King Henry VIII with Will Sommers, Edward VI, Mary I, and Elizabeth I, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland and

The King on his Throne in the House of Lords, James Fittler, 1758–1835, British, after Edward Pugh, 1763–1813, British, 1804, Hand colored engraving

Sassa 1789, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Hand colored engraving

Weathercote Cave when Half Filled with Water, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Etching and line engraving on medium, slightly textured, cream, wove paper, Sheet:

Studies for the Instruction of Painters, two suites. Rome, c. 1630, Print made by Francesco Curti, 1610–1690, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Domenico de Rossi, active 17th century, Italian,

Field of Waterloo (with Lightning), William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Pope's Villa, Charles Heath, 1785–1848, British, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1811, Etching and engraving ( Engraver's Proof aa

The West Side of London Bridge, The East Side of London Bridge, Sutton Nicholls, active 1725, British, after Sutton Nicholls, active 1725, British, 1710, Engraving

Frai.Lelio. Blancatcio. Commendat, Melit. March. Mont. Silvan. a.Consil. Collater. Neapol. Cath. Matis. a. Cons. Stat. et. Suprem. Campi. Arcschalc., Nicolaes Lauwers, 1620–1652, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish,

Lieutenant General Charles Fleetwood, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Robert Walker, 1607–1660, British, 1740, Line engraving on medium, slightly textured, cream laid paper

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