Images at Librifly

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Distribution of His Majesty's Maundy...Chapel Royal at Whitehall, James Basire, 1730–1802, British, after Samuel Hieronymus Grimm, 1733–1794, Swiss, 1777, engraving, Sheet: 16 1/2 x 24 1/2in. (41.9 x 62.2cm), dinner, food, meal

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

Vignette, Apollo and Cupid, Francesco Bartolozzi RA, 1728-1815, Italian, active in Britain (1764-99), after unknown artist, undated, Engraving

Marriage à la Mode, Plate 1, Print made by Gerard Jean Baptiste Scotin, 1671–1716, After William Hogarth, 1697–1764, British, 1745, Etching with line engraving, Sheet: 15 3/8 × 18 1/2 inches (39.1 × 47 cm

Naples, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

London after the Fire Anno Domini 1666 Plan, John Preston Neale, 1771/80–1847, British, after unknown artist, undated, Engraving

A View of Blackwall looking towards Greenwich, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1750, Engraving

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

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

Sir Henry Vane, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1742, Line engraving on medium, slightly textured, cream laid paper

Seal of John Holland and S.W. View of St. Katherine's Church, Benjamin Thomas Pouncey, active 1772–1799, British, after Wenceslaus Hollar, 1607–1677, Bohemian, 1779, Engraving, Sheet: 9 7/8 x 7 5/8in. (25.1 x 19.4cm

Fishing Boats of Calais, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

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

The Southwest Prospect of the Church of All Hallows Staining, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1736, Engraving, Sheet: 11 1/8 x 12 3/16in. (28.3 x 31cm

The Delivery of the Definitive Treaty by the Hostage Princes into the Hands of Lord Cornwallis, Print made by Daniel Orme, 1766–1837, British, after Mather Brown, 1761–1831, American, active in Britain, 1793, Stipple engraving on medium,

To His Royal Highness, the Prince of Wales...This print of Newmarket Heath, John Bodger, Active 1770–1821, 1787, Map: aquatint, colored by hand; vignette: engraving, colored by hand, oval with ornamental border, Sheet: 17 5/8 x 26 5/8in.

Destruction of Both Houses of Parliament, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with

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

Rietz, near Saumur, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

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

Shipbuilding (An Old Oak Dead), Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, slightly textured, cream, wove paper, mounted on,

Santa Sabes and the Brook Kidron, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Games at Vauxhall: Playing at Cricket, Print made by Guillaume Philippe Benoist, 1725–ca. 1770, French, after Francis Hayman, 1707/8–1776, British, Published by John Bowles, 1701–1779, British, Published by Carington Bowles,

1. ... The Men Methods & Machines chiefly employed for the Reformation & Improvement of Farriery & the / treatment of Cattle in General ..., Charles Loraine Smith, 1751–1835, British, 1792, Hand colored engraving, Sheet: 8 1/4 x 10 3/8in. (21

The King on his Throne in the House of Lords, Print made by James Fittler, 1758–1835, British, after Edward Pugh, 1763–1813, British, 1804, Line engraving on slightly textured, moderately thick, white wove paper, Sheet: 7 × 8 5/16

A View of the Royal Exchange, London, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1751, Hand colored engraving

Rouen, from St. Catherine's Hill, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

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

Clarissimus lustus Lipsius Historiographus Regius Professor Consliarius Etc., Print made by Schelte A. Bolswert, 1586–1659, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41),

Caractacus before Claudius, Print made by unknown artist, nineteenth century, after unknown artist, nineteenth century, Published by Nuttall, Fisher & Dixon, active 1818, British, 1816, Etching and line engraving on thin, slightly

A View of Northumberland House and Charing Cross, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving, Sheet: 8 1/4 x 10 1/4in. (21 x 26cm

Chapel of St. Bartholomew, Kingsland, Print made by John Wykeham Archer, 1808–1864, British, 1846, Etching and line engraving on medium, slightly textured, cream wove paper

The Death of Cardinal Wolsey, Print made by Philip Audinet, 1766–1837, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1811, Etching and line engraving on thin, slightly

Fresh Gale, 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

St. Anne's Hill No. II, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with gray, chine colle, Sheet: 17 7/16

William Cavendish, first Duke of Newcastle-upon-Tyne, Print made by Lucas Vorsterman, 1595–1675, Flemish, after Samuel Cooper, 1609–1672, British, between 1620 and 1628, Line engraving on medium, slightly textured, cream wove paper

Chevalier Pinto, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Domingos Antonio de Sequeira, 1768–1837, Portuguese, undated, Stipple engraving and soft-ground etching on moderately thick,

The Cottagers, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1794, Stipple engraving, Plate: 20 3/4 x 16in. (52.7 x 40.6cm

D. Anna Wake, Peter Clouet, 1629–1670, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engravin, stipple engraving and etching on medium, slightly textured,

The Right Honourable Spencer Perceval, Charles Turner, 1774–1857, British, after George Francis Joseph, 1764–1846, Irish, 1812, Mezzotint and steel engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 19 3/16

Young's Night Thoughts, Page 87, 'Is lost in love! thou great Philanthropist', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

A Southwest View of the Principal Quadrangle or Court Yard of Crosby Hall, Samuel Rawle, 1771–1860, British, after Frederick Nash, 1782–1856, British, 1816, Engraving, Sheet: 10 3/4 x 12 1/8in. (27.3 x 30.8cm

Old Man's Head looking Upwards, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Annibale Carracci, 1560–1609, Italian, 1796, Engraving

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

Statue of Dr. Johnson, James Heath, 1757–1834, British, after unknown artist, undated, Engraving, Sheet: 8 3/4 x 5 1/2in. (22.2 x 14cm

Bolton Abbey, Yorkshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving and etching, 3rd state on moderately thick, slighltly textured, cream, wove paper, Sheet: 10

The Devastations occasioned by the Rioters of London Firing the New Goal of Newgate and burning Mr. Akerman's furniture & c. June 6, 1780, Thornton, 18th century, after unknown artist, 1780, Engraving

The Siege of Blenheim - or - The New System of Gunning Discoverd -, James Gillray, 1757–1815, British, 1791, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

View of the City of London as it appears from under one of the Arches of Westminster Bridge, unknown artist, eighteenth century, after unknown artist, 1775, Engraving

Galileo's Villa, 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

Fall of the Trees, Yorkshire, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving, 2nd state on moderately thick, slightly textured, cream, wove paper, with cream, chine

Edward Harley, 2nd Earl of Oxford and Earl of Mortimer, George Vertue, 1684–1756, British, after Michael Dahl, 1656–1743, Swedish, active in Britain (from 1682), 1745, Etching, engraving, and stipple on moderately thick, slightly

Plate 1, The Fellow 'Prentices at their Looms, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching with line engraving, Sheet: 10 3/8 × 13 1/2 inches (26.4 × 34.3 cm

A View of Stour Head in the Country of Wiltshire the Seat of Henry Hoare Esq. The Lake and Pantheon, Francois Vivares, 1709–1780, French, Coplestone Warre Bampfylde, 1719–1791, British, 1777, Engraving, Sheet: 17 1/2 x 21 3/4in. (44.5 x

Tomb of Cecilia Metella, Rome, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Etching and engraving, first published state on moderately thick, slightly textured, beige,

Eliud, 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

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, 1750, Line engraving on medium, slightly textured, cream laid paper

Female Curiosity, Print made by Thomas Ryder, 1746–1810, Irish, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly textured,

Ancient Temples and Rotundas (Five Designs), Antonio Lafreri, 1512–1577, French, Print made by unknown artist, sixteenth century, 1546-1590, Line engraving on medium, slightly textured, cream laid paper, Sheet: 12 1/2 × 9 1/8 inches

A Ship in Distress, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Peter Monamy, 1681–1749, British, Published by John Bowles, 1701–1779, British, 1745, Line engraving and etching on moderately

The River, 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, cream wove paper, Sheet: 8 1/8

At Woolwich with part of the Town, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after T. & I. Milton, 18th century, 1753, Color engraving

Bermerside, 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

The Bernese Alps, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Etching and engraving, first published state on moderately thick, slightly textured, cream, wove paper,

Godefridus-Henricus Comes de Papenheim Consiliarius Aulicus Suæ Ces. Maiest. Eiusqr Exercituum Mareschallus Generalis, Cornelius Galle, 1576–1650, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21;

Here's Dada Coming. My Pretty Dada. Shoulder Arms. What Pretty Things., Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, stipple engraving, etching and color woodcut on moderately thick, smooth, cream wove

Horse-racing Set of six: 2. Brood Mares with their Foles, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm

The School of Homer, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, 3rd state on medium, slightly textured, cream, wove paper, Sheet: 6 5/8 × 3 15/16

A Fishing Village (tail piece), 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, cream wove

Christiano D.G. Postulato EP. Halberstadiensi, Duci Brunsuicensi, et Luneburgensi etc., Robert van Voerst, 1597–1636, Dutch, active in Britain (from 1627), after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21;

Petrus Snayers, Præliorum Pictor Bruxellis, Andreas Stock, c. 1540–1648, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving, stipple engraving and

The Royal Exchange, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Ergett el Krome 1789, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Hand colored engraving

Carew Castle, Pembroke, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, early

London. General View from near Westminster Bridge, John Greig, active 1800–1853, British, after Baroness Margaretta Elizabeth Arden, 1768–1851, British, 1804, Engraving

The New River Sluice House and Hornsey Wood House, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1808, Engraving

Baby Girl with Doll, Watching Chick, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on moderately thick, slightly textured, cream wove paper mounted on

Adrianus Stalbent, 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 engravine on medium, slightly textured,

South View of the Cold Baths, Cold Bath Field, unknown artist, nineteenth century, after unknown artist, 1812, Engraving, Sheet: 6 3/4 x 8 1/4in. (17.1 x 21cm

Richmond, Yorkshire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, touched

Elevation of Part of the Interior of Crosby Hall (Council Room), Samuel Rawle, 1771–1860, British, after Frederick Nash, 1782–1856, British, 1816, Engraving, Sheet: 10 3/4 x 9in. (27.3 x 22.9cm

A View of Westminster Bridge, the Abbey, etc., John William Edye, 1760–1802, Danish, c. 1791, Colored engraving, Sheet: 22 x 29 1/2in. (55.9 x 74.9cm

Illustrations to Samuel Richardson's 'The Life of Pamela', illustrated by Joseph Highmore, Print made by L. Truchy, 1721–1764, after Joseph Highmore, 1692–1780, British, 1762, Engraving, Sheet: 14 3/16 x 18 3/8in. (36 x 46.7cm) and

Fetcham Park, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1852, Etching and engraving, first published state on medium, slightly textured, cream wove paper

Hampstead, John Greig, active 1800–1853, British, after John Greig, active 1800–1853, British, 1805, Engraving

The Temptation on the Mountain, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first published state

The Borghese Vase, 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

David Garrick in the Character of Richard III, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1798, Line engraving, Sheet: 18 3/8 x 22 3/4in. (46.7 x 57.8cm), literary theme, portrait

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

Per Illustriss Dominus Hieronymus Westonius Comes Portlandiæ Heylandiæ, etc., Wenceslaus Hollar, 1607–1677, Bohemian, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1645, Stipple

Anna Stevens (née Wake), Peter Clouet, 1629–1670, 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,

Church of the Virgin Mary at Oberweisel, Print made by James Tingle, active ca. 1830–1860, after William Tombleson, ca.1795–1835, British, undated, Line engraving on medium, slightly textured, cream wove paper

The Resurrection, John Jones, ca. 1745–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1796, Stipple engraving on moderatey thick, moderately textured, cream, laid paper, Sheet: 25 7/8 × 19 1/8 inches (65.7 × 48.6

The Queen or Domestic Education at Windsor (Designs for the Walls of the Great Room of the Society for the Encouragement of the Arts), James Barry, 1741–1806, Irish, after 1783, Engraving, Sheet: 16 x 19in. (40.6 x 48.3cm

Celadon and Amelia, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1782, Stipple engraving and etching in black ink

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,

Miss Gwatkin as 'Simplicity', Print made by Francis Bartolozzi, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, Published by Bartolozzi & Co., 1728–1815, Italian, active in Britain

St. Vincent's Rock, Near Clifton, Glocestershire, Print made by James S. Storer, 1771–1853, British, after Francis Nicholson, 1753–1844, British, Published by Vernor & Hood, active 1795–1807, British, 1806, Etching and line

Robert Rich, 2nd Earl of Warwick, 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), 1747, Line engraving on moderately thick,

The Prophet Ezekiel, 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

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