Images at Librifly

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For Children. The Gates of Paradise, Plate 14, ''Does thy God O Priest take such vengeance as this?', Print made by William Blake, 1757–1827, British, 1793, Etching and line engraving on moderately thick, slightly textured, cream wove

Illustris & Excellent D. Dominus Thomas Howard, Comes Arundelliæ & Surriæ..., Wenceslaus Hollar, 1607–1677, Bohemian, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1646, Stipple

At Chatham with Village of Brompton adjacent, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after T. & I. Milton, 18th century, 1755, Color engraving

White Lady, Print made by Edward Scriven, 1775–1841, British, after Henry Howard, 1769–1847, British, Published by Chapman and Hall, 1833, Line engraving with hand coloring in watercolor and gouache on medium, slightly textured, cream

The New Bridge, Blackfriars, London, Robert Baldwin, active 1763–1769, after unknown artist, 1766, Engraving, Sheet: 12 1/2 x 48in. (31.8 x 121.9cm

A North West View of the Tower of London, unknown artist, eighteenth century, after John Maurer, active 1713–1761, 1753, Engraving

A Perspective View of the Royal Garden of Somerset next the River, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1748, Engraving

Dunbar, James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1824, Line engraving and etching on moderately thick, smooth, cream, wove paper, Sheet: 10 7/16 × 14 3/4 inches (26.5 × 37.5

Stoneyhurst, Lancashire, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, 3rd state on moderately thick, slightly textutred, cream, wove paper, Sheet: 10 13/16 ×

Canvassing for Votes, Plate II, Print made by Charles Grignion, 1717–1810, British, after William Hogarth, 1697–1764, British, 1755-1758, Engraving, Sheet: 15 7/8 x 21 1/8in. (40.3 x 53.7cm), genre subject, politics, satire

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

For the Sexes: The Gates of Paradise, Plate 16, 'The Traveller hasteth in the Evening', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 13

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

William Blake, Charles H. Jeens, 1827–1879, after John Linnell, 1792–1882, British, 1827, Engraving

Scholars at a Lecture (A Chorus of Singers), William Hogarth, 1697–1764, British, 1736, Engraving, Sheet: 8 1/8 x 6 7/8in. (20.6 x 17.5cm

Michael Mirevelt, Iconum Pictor in Hollandia, William Jacobsz Delff, 1580–1638, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving on medium, moderately

Ashestiel (Vignette), Print made by William Richardson, active 1842–1877, British, after Joseph Mallord William Turner, 1775–1851, British, 1854 reprint, Line engraving on medium, slightly textured, cream wove paper

Caerlaverock Castle, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; touched engraver's proof on medium, slightly textured, cream wove paper

Florence, Print made by Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Gerard Zoust, Edema and Grifiere, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 12 x 9 inches (30.5 x 22.9 cm), Plate: 7 3/8 x 5 1/2 inches (18.7 x

Mary Queen of Scots, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Frederico Zuccheri, 1540/43–1609, Italian, 1779, Engraving, Sheet: 15 1/16 x 10 15/16in. (38.3 x 27.8cm

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

Corinth (Cenchrea), Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof, touched

Venice - the Dogana, Print made by unknown artist, nineteenth century, Formerly attributed to Robert Brandard, 1805–1862, British, after print by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851,

Young's Night Thoughts, Page 93, 'If Angels Tremble, 'Tis at Such a Sight', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Vignette: Four Putti, two holding Hands, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Funeral of a Doge in St. Mark's Place, Print made by Daniel Allen, active 1830s, British, after Titian, 1488/90–1576, Italian, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

An Old Manor House, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, cream, wove paper, with gray, chine colle, Sheet: 17 1/8 × 11 3/4

The Company of Undertakers, William Hogarth, 1697–1764, British, 1736, Etching and engraving on wove paper, Sheet: 10 3/8 x 7in. (26.4 x 17.8cm

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

About Cats, Print made by Alfred W. Cooper, active 1850–1901, British, after Alfred W. Cooper, active 1850–1901, British, undated, Wood-engraving with hand coloring on moderately thick, slightly textured, blued white wove paper, Sheet:

Blood on Thunder Fording the Red Sea, James Gillray, 1757–1815, British, Published by S. W. Fores, 1785–1825, 1788, Etching and stipple engraving, hand-colored on moderately thick, slightly textured, cream laid paper, Sheet: 9 7/16 x

A View of London taken off Lambeth Church, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1752, Hand colored engraving

Amalfi, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1829, Etching and line engraving on medium, slightly textured, cream wove paper

West View of the City of Worcester, S. Sparrow, active 1795, after James Ross, 1745–1823, British, 1795, Engraving

Boy Sketching a Man with Two Girls Watching, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on moderately thick, slightly textured, beige wove paper,

A View of the Grand Walk & c. in Vauxhall Gardens, taken from the Entrance, Edward Rooker, 1724–1774, British, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), 1794, Engraving, leisure, England, Lambeth, London,

Interior View of the Library of the London Inst., unknown artist, ( Cook ), after Robert Bremmel Schnebbelie, active 1803–1849, 1820, Engraving

Benjamin West Esqr. Prisident of the Royal Academy and Historical Painter to his Majesty, Print made by Thomas Holloway, 1748–1827, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1798, Engraving

Amboise, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof (touched

The Fatal Bellman, Print made by George Richmond, 1809–1896, British, 1827, Engraving on moderately thick, smooth, cream wove paper, Sheet: 6 13/16 x 5 3/8 inches (17.3 x 13.6 cm), Plate: 2 11/16 x 1 7/8 inches (6.9 x 4.7 cm), and Image:

Saint Denis, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof, touched

Children Swinging, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Stipple engraving on thick, slightly textured, cream, wove paper, with gray, chine colle, Sheet: 17 3/16 × 11 7/8 inches (43.7

Free Natives of Dominica, Print made by Agostino Brunias, 1728–1796, Italian, active in Britain (1758–70; 1777-80s), after Agostino Brunias, 1728–1796, Italian, active in Britain (1758–70; 1777-80s), 1780, Stipple engraving and

Richardson's House of North End, Hammersmith, T. Rickards, active 18th century, 1804, Engraving

'At the High Court of Justice for the trying and inditing of Charles Steuart King of England January Anno Dom. 1648', George Vertue, 1684–1756, British, after unknown artist, 1750, Engraving

Il Castello che al Presente si Dice Sant'Angelo Anticamente Fu il Sepolcro de Adriano, Print made by unknown artist, sixteenth century, Published by Claude Duchet, died ca. 1585, French, Published by Antonio Lafreri, 1512–1577, French,

The Monument, Sutton Nicholls, active 1725, British, 1731-1748, Engraving, architectural subject, carriage, horses (animals), monument, pedestrians, London

Attack on Sidon by Commodore Charles Napier, Print made by William Greatbach, Born 1802, British, Published by The London Printing and Publishing Company, undated, Line engraving on medium, slightly textured, cream wove paper

Venice - The Campanile, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, Engraver's proof

Exeter, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1829, Line engraving, 2nd state on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 10 13/16 × 14

Chelsea Old Church - 1872, unknown artist, nineteenth century, after unknown artist, 1872, Engraving, Sheet: 5 1/2 x 7 1/4in. (14 x 18.4cm

'Cries of London' Plate 2: 'Milk below Maids', Luigi Schiavonetti, 1765–1810, Italian, after Francis Wheatley, 1747–1801, British, 1793, Colored engraving with stipple, DON'T USE: 16 x 12in. (40.6 x 30.5cm

Premier Map of London and Suburbs: Undertakers regaling themselves at Death's Door, Battersea Rise, Surry, Samuel Rawle, 1771–1860, British, after John Nixon, ca. 1760–1818, British, 1801, Engraving on slightly textured, medium, white

The Decisive Victory over the Enterprizing Monsieur Thurot (off the Isle of Man), J. Miller, active 1769–1825, British, after Richard Wright, ca. 1720–ca. 1775, British, 1762, Line engraving with hand coloring in watercolor on medium,

The Blind Harper, Print made by Samuel Davenport, 1783–1867, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Illustrations for 'Gil Blas', plate VI, after Thomas Stothard, 1755–1834, British, 1781, Line engraving on medium, slightly textured, cream wove paper

Rustic Benevolence, Niccoló Schiavonetti, 1771–1813, Italian, after Franco Zuccarelli RA, 1702–1788, Italian, 1804, Stipple engraving, colored on moderately thick, slightly textured, cream, wove paper, Sheet: 16 1/4 × 19 3/8 inches

The Spring, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on moderately thick, slightly textured, cream, wove paper, with gray chine colle, Sheet: 17 1/4 × 11 7/8 inches (43.8 ×

St. Julienne's Chapel, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving and graphite, engraver's proof (touched) on thick, slightly textured, beige, wove paper,

Buondelmonte, Print made by Daniel Allen, active 1830s, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Mr. Garrick in the Charakter (sic) of Richard the 3D, Charles Grignion, 1717–1810, British, William Hogarth, 1697–1764, British, after William Hogarth, 1697–1764, British, 1746, Engraving, Sheet: 15 1/8 x 19 3/4in. (38.4 x 50.2cm),

Melun, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof, touched, (early

Justice, George Siegmund Facius, 1750–1804, And: Johann G. Facius, 1750–after 1802, German, after Sir Joshua Reynolds RA, 1723–1792, British, 1782, Stipple engraving

Southwark Bridge, Charles Heath, 1785–1848, British, after Peter DeWint, 1784–1849, British, 1825, Engraving, Sheet: 4 x 6 1/2in. (10.2 x 16.5cm

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

The West India Flower Girl, Print made by Louis Charles Ruotte, 1754–ca. 1806, French, after Agostino Brunias, 1728–1796, Italian, active in Britain (1758–70; 1777-80s), Published by François Jules Gabriel Depeuille, active

View of the South Front of the New Buildings called Adelphi, formerly Durham Yard and also that part of the Cities of London and Westminster, Benedetto Pastorini, Italian, ca.1746–after 1803, Italian, after unknown artist, 1770, Engraving

The Roman Forum from the Tower of the Capitol, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and engraving on moderately thick, moderately textured, cream, wove paper,

The Inside of the Royal Exchange, London, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Somerset House in its Original State, unknown artist, after unknown artist, 1809, Engraving

Winter, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Wheatley, 1747–1801, British, 1789, Stipple engraving and etching on moderately thick, moderately textured, cream laid

The Return (First Class), William Henry Simmons, 1811–1882, British, after Abraham Solomon, 1824–1862, British, 1857, Mixed-media engraving, hand-colored on thick, slightly textured, cream, wove paper, Sheet: 21 3/8 × 29 3/8 inches

Thomas Wentworth, 1st Earl of Stratford, 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), 1740, Line engraving, stipple engraving

The Wards of Coleman Street and Bassishaw, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving

Miss Elizabeth Beauclerc as 'Una', Print made by Thomas Watson, 1743–1781, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1782, Stipple engraving, printed in brown ink on thick, moderately textured, cream laid paper,

Cupid making a Bow, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Correggio, ca. 1489/94–1534, Italian, 1785, Engraving

Florence, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 7/8 × 16 3/8 inches (27.6 ×

Hotel de Ville de New York, after Louis Jules Arnout, 1814–1867, French, 1837, Etching and line engraving on medium, slightly textured, cream wove paper

Scelte a Bolswart, Calcographus Antuerpiæ, Adrian Lommelin, c. 1637–1677, 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 moderately

Tintagel Castle, Cornwall, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Etching and engraving, first published state on medium, slightly textured, cream, wove paper, with cream

Ticket for the Theatre Royal, Covent Garden, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, Between 1775 and 1800, Etching and line engraving on moderately thick, moderately textured,

Sir Home Popham, Anthony Cardon, 1772–1813, Flemish, after Mather Brown, 1761–1831, American, active in Britain, 1807, Stipple engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 17 × 12 15/16 inches (43.2

Warwick Castle, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 3rd state on moderately thick, smooth, cream, wove paper, Sheet: 10 1/2 × 14 5/8 inches (26.7 × 37.1

Vol. 6, Plate XXXV: Continuation as it is Presumed of the Miracles of Elisha, and the Famine of Samaria. The Acts of Judas Maccabeus., Print made by James Basire, 1769–1822, British, after Charles Alfred Stothard, 1786–1821, British,

John Jackson, R. A., James Thomson, 1789–1850, British, after John Jackson, 1778–1831, British, 1831, Engraving

Perspective View of the North & East Fronts of the Building Connected with the Houses of Parliament and Courts of Law, &c. &c., Print made by R.C. Roffe, active in London 1806–1835, British, after Philip William Wyatt, 1777–1835, British,

Marine Study No. 3, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Willem van de Velde the Elder, (?), ca. 1611–1693, Dutch, active in Britain (from 1672), after Willem van de Velde the Younger,

A Swiss Valley (Vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Engraving

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

The Vision of Columbus, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, moderately textured, cream, wove paper, with gray chine colle, Sheet: 17 1/4

Kelso, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; early engraver's proof on medium, slightly textured, cream wove paper

Nollekens, Edward Scriven, 1775–1841, British, after unknown artist, undated, Engraving

Junction of Parties, James Gillray, 1757–1815, British, 1783, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Alnwick Castle, Northumberland, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Parnassus and Castalian Spring, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, first published state on thick, moderately textured, beige, wove paper,

Rome, Castle of St. Angelo, 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

Johnnie Armstrong' s 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

David Garrick as Richard III in the Drury Lane Theatre Performance, 1759, Print made by William Bromley, 1769–1842, British, after Francis Hayman, 1707/8–1776, British, Published by John Boultbee, 1753–1812, British, 1811, Stipple

Edward Lord Thurlow, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1782, Engraving

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