Images at Librifly

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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

Setting out for the Fair, John Eginton, active 1763–1800, after Francis Wheatley, 1747–1801, British, 1792, Stipple engraving

Admiration, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Pierre N. Violet, 1749–1819, French, 1792, Engraving

St. Mary le Strand, Sutton Nicholls, active 1725, British, 1731-1748, Engraving, architectural subject, carriages, church, horses (animals), pedestrians, smoke, steeple, London

The Southwest Prospect of the Church of St. Helen, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1736, Engraving, Sheet: 11 x 12 1/4in. (27.9 x 31.1cm

Albert, Archduke of Austria, Renold Elstrack, 1570–1625(?), British, after Sir Peter Paul Rubens, 1577–1640, Flemish, Published by Compton Holland, active 1616–d.1621, British, between 1616 and 1621, Line engraving on medium,

Julia, Lady Peel, Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, Published by Moon, Boys & Graves, ca. 1812–1892, British, 1832, Mezzotint, line engraving, and stipple engraving

William Cavendish, Marquis of Newcastle, General of His Majesties Army in the North., Print possibly made by George Vertue, 1684–1756, British, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34;

Tours, Print made by Edward Francis Finden, 1791–1857, British, after Samuel Prout, 1783–1852, British, 1833, Line engraving on medium, slightly textured, cream wove paper

Near Blair Athol Scotland, Joseph Mallord William Turner, 1775–1851, British, And: William Say, 1768–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1811, Engraving on wove paper, Sheet: 11 1/2 x 16 1/2

Bally-Burgh Ness, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, late published state

View of Lichfield, The Birth Place of Dr. Samuel Johnson, Edward Francis Finden, 1791–1857, British, after Clarkson Stanfield, 1793–1867, British, Published by John Murray, 1802–1892, British, 1835, Etching and line engraving on

Henry IV, Part I, Act II, Scene II: ' The Road by Gadshill - Prince Henry, Poins, Peto, Falstaff, etc.', Samuel Middiman, ca. 1750–1831, British, after Robert Smirke, 1752–1845, British, and Joseph Farington, 1747–1821, British,

High Street, Edinburgh, Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1819, Line engraving on moderately thick, smooth, cream, wove paper, with beige, chine colle, Sheet: 10 9/16 × 14

Gil Blas. Vol I: Gil Blas in the Cavern, Print made by James Neagle, 1760–1822, British, after Robert Smirke, 1752–1845, British, 1809, Line engraving on medium, slightly textured, cream wove paper

Dryden's Monument, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

Joseph Addison, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1748, Engraving on medium, moderately textured, cream laid paper, Sheet: 19 7/8 × 14 1/4

Tours - looking backwards, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, engraver's proof

Shaftesbury House, unknown artist, after unknown artist, undated, Etching and line engraving on slightly textured, medium, white wove paper, Sheet: 2 1/2 × 3 3/4 inches (6.4 × 9.5 cm), architectural subject

Now Sir, You're a Complete Macaroni, Print made by James Caldwall, 1739–1819, British, after Michel Vincent Brandoin, 1733–1807, Swiss, Published by Robert Sayer, 1725–1794, British, and John Smith of Cheapside, active ca.

Infancy (Francis George Hare), R. Matthew, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Stipple and etching engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 14 × 10 7/16 inches (35.6 × 26.5 cm),

William Henry West Betty, James Heath, 1757–1834, British, after James Northcote, 1746–1831, British, 1806, Engraving on medium, moderately textured, cream laid paper, Sheet: 25 1/2 x 18 1/2 inches (64.8 x 47 cm), Plate: 24 1/8 x 17

Ancient Carthage - The Embarcation of Regulus, Print made by Daniel Wilson, 1816–1892, after Joseph Mallord William Turner, 1775–1851, British, 1840, Etching and line engraving; engraver's proof on moderately thick, slightly textured,

Worcester, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, 3rd state on moderately thick, smooth, cream, wove paper, Sheet: 11 1/16 × 14 15/16 inches (28.1 ×

View of the Orchestra Organ &c. Erected in Westminster Abbey, John Walker, active 1792–1803, And William Walker, active 1782–1808, after John Dixon, ca. 1740–1811, Irish, 1784, Engraving

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

St. Julienne's Chapel, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, Sheet: 17

A View of the Iron Bridge, in Coalbrook Dale, Shropshire, Francis Chesham, 1749–1806, British, after George Robertson, 1749–1788, British, 1788, Engraving, Sheet: 15 7/8 x 21 1/2in. (40.3 x 54.6cm

A View of the Monument Erected in Memory of the Dreadful Fire in the Year 1666, George Bickham, 1684–1769, British, OR George Bickham, 1683/4–1758, British, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), 1752,

Carlton House, John Pye, 1782–1874, British, after unknown artist, undated, Engraving, Sheet: 6 5/16 x 8 15/16in. (16 x 22.7cm

The First Stage of Cruelty: Children Torturing Animals, Print made by William Hogarth, 1697–1764, British, 1751, printed 1790, Line engraving on thick, white, smooth wove paper, Sheet: 24 7/8 x 19 1/4 inches (63.2 x 48.9 cm), Plate: 15

The Plain of Troy, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with gray, chine

Concert Ticket: Professional Concert, 1789, First Night, Hanover Square, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1789, Etching, stipple and line engraving on thick, slightly

Stoke Park, Buckingshire, William Woolnoth, active 1806–1830, British, after John Britton, 1771–1857, British, undated, Engraving on medium, slightly textured, cream, wove paper, Mount: 24 × 17 1/4 inches (61 × 43.8 cm), Sheet: 4

Whitby, Print made by John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, c. 1844, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Mary Stuart, Queen of Scotland, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hogarth, 1697–1764, British, 1803, Engraving

Brignall Church, Samuel Rawle, 1771–1860, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet:

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

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

The North Prospect of Woolwich in the County of Kent, Nathaniel Buck, active 1727–1753, after Samuel Buck, 1696–1779, British, 1739, Engraving

Van Diest and Le Piper, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 12 x 9 1/8 inches (30.5 x 23.2 cm), Plate: 7 1/4 x 5 1/2 inches (18.4 x 14

The King's Mew, unknown artist, eighteenth century-nineteenth century, after unknown artist, undated, Hand colored engraving, Sheet: 6 1/4 x 4 3/4in. (15.9 x 12.1cm

Plate 18 (page 31): ''Tis greatly wise to talk with our past hours', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Nineveh, Moussul on the Tigris, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Reverendus admodum in Christo Pater Philippus Bisse Episcopus Herefordensis, Print made by George Vertue, 1684–1756, British, after Thomas Hill, 1661–1734, British, 1720, Line engraving on medium, slightly textured, cream wove paper

Magna Charta Presented to King John, Print made by Anker Smith, 1759–1819, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1811, Etching and line engraving on thin, slightly

The Gipsy, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on moderately thick, slightly textured, beige, wvoe paper with gray chine colle, Sheet: 17 1/4 × 11

A Ladies Maid Purchasing a Leek, Print made by James Caldwall, 1739–1819, British, after Michel Vincent Brandoin, 1733–1807, Swiss, Published by Robert Sayer, 1725–1794, British, and John Smith of Cheapside, active ca. 1750–1789,

The Steel Yard and Church, Thames Street, Bartholomew Howlett, 1767–1827, British, after unknown artist, 1812, Engraving

The Bank of England and Royal Exchange, Cornhill, Henry Wallis, 1830–1916, British, after James Henry Nixon, c.1808–1847, 1840, Engraving on smooth, moderately thick, gray wove paper, Sheet: 8 5/8 × 16 1/2 inches (21.9 × 41.9 cm),

A Farewell - Lake of Como 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

Timon of Athens, Act IV, Scene III, A Wood--Timon, Phyrma, etc., Robert Thew, 1758–1802, British, after John Opie, 1761–1807, British, 1803, Engraving, Sheet: 17 5/16 x 23 7/16in. (44 x 59.5cm

The Winter's Tale, Act IV, Scene III, Print made by James Fittler, 1758–1835, British, after Francis Wheatley, 1747–1801, British, 1792, Engraving, Plate: 19 3/8 x 24 7/8in. (49.2 x 63.2cm), literary theme, plays by William

St. Germains, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof, touched

Saint Denis, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Fall of the Tees, John Landseer, 1769–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with

Examples of Ceremonial Dress of Soldiers, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

A View of the Casade etc. at West Wycomb, William Woollett, 1735–1785, British, after William Hannan, died 1775, British, 1757, Engraving on thick, moderately textured, cream, laid paper, Sheet: 17 7/8 × 23 5/8 inches (45.4 × 60 cm),

West Window of the Chapel, New College Oxford: The Virtues - Hope, George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1781, Stipple engraving on moderately thick, moderately textured, cream, laid

Melania, Print made by John Condé, 1765–1794, French, active in Britain, after Richard Cosway, 1742–1821, British, Published by John Condé, 1765–1794, French, active in Britain, Published by Molteno, Colnaghi & Co., established

The Three Witches, Peltro W. Tomkins, 1760–1840, British, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), Published by Thomas Macklin, active 1779–1793, British, 1786, Stipple engraving and etching on

Bridge of Meulan, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

The South Prospect of the Church of St. Olave in Southwark, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1736, Engraving, Sheet: 11 x 12 1/4in. (27.9 x 31.1cm

Luci Septimii Severi Caesaris In Via Appia, Print made by unknown artist, sixteenth century, Published by Pietro de Nobili, active 1582, Italian, Published by Antonio Lafreri, 1512–1577, French, 1546, Line engraving on medium, slightly

Glen Coe, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, 1st published state

Anthony Ashley Cooper, Earl of Shaftesbury, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), between 1738 and 1742, Etching and line engraving on medium, slightly

Lady Beauchamp, William Nutter, 1754–1802, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Stipple engraving on moderately thick, moderately textured, cream, laid ppaer, Sheet: 17 1/16 × 11 1/4 inches (43.3 × 28.6

The Southeast Prospect of the Church of All Hallows, London Wall, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1736, Engraving, Sheet: 11 x 12 1/2in. (27.9 x 31.8cm

The French Invasion; or John Bull, bombarding the Bum Boats, James Gillray, 1757–1815, British, 1793, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Chairing the Member, Print made by T. E. Nicholson, active early 19th century, British, after William Hogarth, 1697–1764, British, Published by The London Printing and Publishing Company, 1833, Etching and line engraving on medium,

Harewood House, Print made by John Scott, 1774–1828, British, after Joseph Mallord William Turner, 1775–1851, British, 1816-1820, Line engraving, engraver's proof

The Daughter of Herodias, Print made by Thomas Holloway, 1748–1827, British, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1798, Line engraving on medium, slightly textured, cream wove paper

For Children. The Gates of Paradise, Plate 15, 'Fear & hope are -- Vision', Print made by William Blake, 1757–1827, British, 1793, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 5 1/2 inches

Palace of La Belle Gabrielle, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1837, Line engraving on medium, slightly textured, beige, wove paper, Sheet: 8 5/8 × 13 1/2 inches (21.9

The Royal Hospital at Greenwich, unknown artist, eighteenth century, after unknown artist, undated, Engraving

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

Bacchus amidst Solitary Rocks teaching the Nymphs to make Verses, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1801, Engraving

A Calm, Print made by Nathaniel Parr, active 1742–1751, British, or Remi Parr, active 1723–1750, British, after Francis Swaine, 1730–1782, British, Published by Robert Sayer, 1725–1794, British, undated, Line engraving with hand

Barber Surgeon's Hall, from the Church Yard of St. Giles, Cripplegate, unknown artist, after unknown artist, 1800, Engraving

Caernarvon Castle, Wales, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

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,

Diligence and Dissipation: The Good Girl Married to her Master/ The Wanton laid in her Grave (Plate 10), Print made by Thomas Gaugain, 1748–1812, French, and Thomas Hellyer, active 1800, British, after James Northcote, 1746–1831,

A View in Hudson's River of Pakepsey & the Catts-Kill Mountains, from Sopos Island in Hudson's River, Print made by Paul Sandby RA, 1731–1809, British, after Paul Sandby RA, 1731–1809, British, after drawing by Thomas Pownall,

Interior of Crosby Hall, James S. Storer, 1771–1853, British, after Frederick Nash, 1782–1856, British, 1804, Engraving, Sheet: 9 3/4 x 7 1/8in. (24.8 x 18.1cm

Mount Moriah, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, Engraving, proof

The Entombment of Christ, Print made by Jan de Bisschop, 1628–1671, Dutch, formerly attributed to after Annibale Carracci, 1560–1609, Italian, between 1672 and 1689, Line engraving on medium, slightly textured, beige laid paper, Sheet:

Pamela asking the Blessing of Sr. Jacob Swinford, Mr. B's unkle, a rough old fox hunter, who after the most obstinate resolution to the contrary, relents, and becomes her great admirer, Mr. B. behind, whispering Lady Davers she having

Road to Riches and delightfull Parts, Or, The Recruiting Officers ? Matrimonial Trip to the Continent., (?) William Dent, active 1784–1793, 1792, Line engraving with watercolor on laid paper, Sheet: 10 x 13 7/8in. (25.4 x 35.2cm

A Portrait Study for the Engraving of Gentleman Jackson, Charles Turner, 1774–1857, British, undated, Graphite on medium, slightly textured, cream wove paper, Sheet: 13 7/16 × 8 13/16 inches (34.1 × 22.4 cm), portrait

A Sacrifice to Cupid, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1783, Engraving

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

Crypt in Kirkstall Abbey, Yorkshire, Print made by John Scott, 1774–1828, British, after Joseph Mallord William Turner, 1775–1851, British, 1805-1826, Engraving (engraver's proof

Graville, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Palais at Blois, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream, chine

Whitby, Print made by John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, c. 1844, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

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

Four Intellects, Print made by Florence Claxton, active 1855–1889, British, undated, Wood-engraving, genre subject, ink, lamp, men, office, table

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

Herstmonceux Castle from the South, William Henry Brooke, 1772–1860, Irish, after William Henry Brooke, 1772–1860, Irish, undated, Engraving on smooth, moderately thick, cream wove paper, Sheet: 5 1/2 × 8 5/8 inches (14 × 21.9 cm),

Lake of Albano, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, first published state on moderately thick, moderately textured, cream, wove paper, with cream, chine

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