Images at Librifly

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Sir Peter Lely, Print made by A. Birrell, ca.1770–ca. 1820, British, after Sylvester Harding, (drawing), 1745–1809, British, after Sir Peter Lely, (painting), 1618–1680, Dutch, active in England (from 1643), undated, Stipple

University of Cambridge, Nathaniel Parr, active 1742–1751, British, 1731-1748, Engraving

Prospectus print 'Crown & Mitre', William Hogarth, 1697–1764, British, after William Hogarth, 1697–1764, British, 1754, Engraving

Hot Spice Gingerbread Smoking Hot, Print made by Giovanni Vendramini, 1769–1839, Italian, after Francis Wheatley, 1747–1801, British, 1796, Stipple engraving printed in color, DON'T USE: 16 1/16 x 12 15/16in. (40.8 x 32.9cm

An Airing in Hyde Park, Thomas Gaugain, 1748–1812, French, after Edward Dayes, 1763–1804, British, 1796, Engraving

Venice, 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

A Young Roman Mother Admiring her Infant, Print made by Frederick Christian Lewis the Elder, 1779–1856, British, after John Flaxman, 1755–1826, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Book of Job, Plate 3, Jacob's Sons and Daughters Overwhelmed by Satan, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 × 10 3/4 inches (38.1 × 27.3 cm), Plate: 8 1/2 ×

Saumur, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, 2nd state on moderatle thick, moderately textured, cream, wove paper, with cream chine colle, Sheet: 10 7/8 ×

The Duke's Theatre, Dorset Garden, unknown artist, after unknown artist, (El Kannah Settles), 1813, Engraving

View of the New River as Conveyed Through the Frame at Bush Hill, Outer Suburb - Enfield, unknown artist, eighteenth century-nineteenth century, after unknown artist, undated, Engraving, Sheet: 8 1/8 x 14 1/2in. (20.6 x 36.8cm

Mausolei Ab Augusto Imp, Print made by Etienne Dupérac, ca. 1535–1604, French, Published by Giovanni Orlandi, active 1590–1640, Italian, Published by Antonio Lafreri, 1512–1577, French, 1575, Line engraving on medium, slightly

Stockwell Free Grammar School, unknown artist, nineteenth century, after unknown artist, undated, Engraving, Sheet: 5 1/4 x 7 1/4in. (13.3 x 18.4cm

William of Orange Leaving Hellevoetsluis for England, Johannes Tangena, active 1687–1692, after Romeyn de Hooghe, 1645–1708, Dutch, 1688, Engraving on moderately thick, moderately textured, blued white, wove paper, Sheet: 18 7/8 × 22

Princess Charlotte Augusta, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, 1797, Engraving

Tom Jones: 'The Philosopher Square, Discovered in Molly Seagrim's Garret', Peter Simon, 1750–1810, after John Downman, 1750–1824, British, 1789, Colored stipple engraving on medium, slightly textured, blued white, laid paper, Sheet:

Vignette; Pulto with Tablet and Hermes' Staff, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Welgelegen:Vue du Pavillon de Harlem prise du Bois, William H. Hoogkamer, 1790–1864, undated, Colored engraving on slightly textured, moderately thick, cream wove paper, Sheet: 9 1/2 × 10 13/16 inches (24.1 × 27.5 cm), Plate: 7 5/8 × 9

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

Sheffield, Print made by James Walker, 1748–1808, British, after Joseph Mallord William Turner, 1775–1851, British, 1798, Etching with line engraving on medium, slightly textured, cream wove paper, Sheet: 5 1/2 × 8 3/4 inches (14 ×

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

A View in the Island of Jamaica, of the Spring-head of Roaring River on the Estate of William Beckford Esq.r, Print made by James Mason, 1710–1783, British, after drawings by George Robertson, 1749–1788, British, Published by John

The West Prospect of the Parish Church of St. Giles, Cripplegate, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving, Sheet: 7 3/8 x 9 3/4in. (18.7 x 24.8cm

St. Germains, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Angelica Kauffmann, R. A., William Ridley, 1764–1838, British, after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1809, Engraving

Woman Head, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Leonardo da Vinci, 1452–1519, Italian, 1796, Engraving

Labourers, Print made by George Stubbs, 1724–1806, British, after George Stubbs, 1724–1806, British, 1789, Etching, stipple engraving, roulette and rocker on moderately thick, slightly textured, cream wove paper, Sheet: 21 1/4 x 28

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

New Mackrel, New Mackrel, Niccoló Schiavonetti, 1771–1813, Italian, after Francis Wheatley, 1747–1801, British, 1795, Stipple engraving, printed in color, Plate: 16 3/8 x 12 3/4in. (41.6 x 32.4cm), figure study, genre subject

St. Barts by the Bank, John Le Keux, 1783–1846, British, after Robert William Billings, 1813–1874, British, 1837, Engraving, Sheet: 8 9/16 x 6 1/16in. (21.7 x 15.4cm

Diligence and Dissipation: The Modest Girl rejects the Illicit Addresses of her Master (Plate 6), Print made by Thomas Gaugain, 1748–1812, French, and Thomas Hellyer, active 1800, British, after James Northcote, 1746–1831, British,

The Farmer's Boy (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 medium, slightly textured, cream wove paper,

The Birth of Pyrrhus, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Agostino Carracci, 1557–1602, Italian, 1797, Engraving

A View taken off Wandsworth Hill, looking towards Fulham, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1753, Engraving

Eastnor Castle, Print made by James Charles Armytage, 1802–1897, British, after William Daniell, 1769–1837, British, formerly Robert Smirke, 1752–1845, British, and / or formerly Mary Smirke, 1779–1853, British, ca. 1835,

Wooginoos or Bruces Antidysenterica, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, after Luigi Balugani, 1737–1770, Italian, 1789, Hand colored engraving, Sheet: 14 1/16 x 10 5/8in. (35.7 x 27cm

Dumbarton Castle, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Burnham Abbey, Bucks, Environs - South West, James S. Storer, 1771–1853, British, after Joseph Powell, 1780–1834, British, 1805, Engraving

For Children. The Gates of Paradise, Plate 7, 'Fire', 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 (14 cm), Sheet: 5 3/8 x

Edward III, King of England and France, George Vertue, 1684–1756, British, after unknown artist, 1732, Engraving on medium, slightly textured, cream, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper,

Abbildung der Statt London, fambt dem ersschroeflichen brandt dafelften, fo tagen gewehrt hatt a 1666 im 7 toris, unknown artist, seventeenth century, after unknown artist, undated, Engraving

Edward Prince of Wales and Aquitaine, Duke of Cornwall, George Vertue, 1684–1756, British, after effigie by unknown artist, undated, Engraving on medium, slightly textured, cream, laid paper, mounted on, moderately thick, slightly

Plate 8 (page 13): 'The present moment terminates our sight', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

E d'uccider se stesso in pensier venne / E lo facea, ma il Re Sobrrin lo tenne!, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain

Orford, Suffolk, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Samuel Johnson, William Bromley, 1769–1842, British, after unknown artist, undated, Engraving, Sheet: 5 3/8 x 3 3/8in. (13.7 x 8.6cm

Naples, Print made by Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1829, Etching and line engraving on medium, slightly textured, cream wove paper

Rome, from the Farnesean Gardens, John Le Keux, 1783–1846, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Etching and engraving on medium, slightly textured, cream, wove paper, Sheet: 10 7/16 × 14 7/8 inches

Lord Mansfield, David Martin, 1736/7–1798, British, after David Martin, 1736/7–1798, British, 1775, Line engraving, Plate: 17 3/4 x 25 3/8in. (45.1 x 64.5cm

Distribution of His Majesty's Maundy Ante Chapel at Whitehall, James Basire, 1730–1802, British, after Samuel Hieronymus Grimm, 1733–1794, Swiss, 1789, engraving, Sheet: 16 7/8 x 24 5/8in. (42.9 x 62.5cm), dinner, food, meal

The Duke of York Forcing His Way through the Enemy near Roubiax, Published by Fisher, Son & Co., active 1821–1848, British, 1827, Line engraving on medium, slightly textured, cream wove paper

'Baronet', George Townly Stubbs, 1748–1815, British, after George Stubbs, 1724–1806, British, 1794, stipple engraving, Sheet: 15 7/8 x 19 3/4in. (40.3 x 50.2cm

Part of Chester Castle, William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, 1803-1810, Line engraving Open etching

The White Lily with Variegated-Leaves, 1800, from Robert John Thornton, the 'Temple of Flora', 1799-1812, Print made by Joseph Constantine Stadler, active 1780–1812, British, after Peter Charles Henderson, 1719–1829, British, 1800,

Herstmonceux Castle, Sussex Pl. 4, Sparrow, active 1773–1787, after unknown artist, undated, Engraving, with graphite on slightly textured, medium, white wove paper, Sheet: 6 5/16 × 10 inches (16 × 25.4 cm), Plate: 5 × 7 1/8 inches

New Abbey, Near Dumfries, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, engraving, Engraver's proof

Cruelty in Perfection, 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

Vauxhall, James Stow, ca. 1770–after 1820, British, after William Hogarth, 1697–1764, British, 1825, Engraving

Medallions of F. Hutcheson and L. Natter, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Antonio Francesco Selvi, 1679–1753, 1780, Mezzotint, stipple engraving, and etching on moderately

Plate XXXV: Capital Carved in Stone of the Time of William Rufus; Part of the Ceiling of the Ancient Palace of Westminster, Print made by John Woods, active 1836–1860, after William Capon, 1757–1827, British, 1825, Line engraving on

Lady Gertrude, Marchioness of Halifax, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), undated, Line engraving with

Elysium and Tartarus or the State of Final Retribution, James Barry, 1741–1806, Irish, 1791, Etching strengthened by engraving, Plate: 16 1/2 x 36 3/8in. (41.9 x 92.4cm

Chairing the Members, 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

A Perspective View of Venice, John Bowles, 1701–1779, British, after unknown artist, (Fossati, Giorg), undated, Hand-colored engraving on wove paper, Sheet: 60 1/2in. (153.7cm), boats, cityscape, flags, islands, marine art, rowboats,

St. Malo, Print made by Robert Wallis, 1794–1878, British, after Clarkson Stanfield, 1793–1867, British, Published by Longman, active 1804–1914, British, undated, Line engraving on medium, slightly textured, cream wove paper

The Death of Chatham, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Singleton Copley, 1738–1815, American, active in Britain (from 1776), 1788, Line engraving and etching, published state,

Lincoln's Inn Fields coming in from Great Queen Street, unknown artist, 1810, Hand colored engraving

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,

South Prospect of Prescot in Lancashire, William Henry Toms, ca. 1700–ca. 1750, British, after Hamlet Winstanley, 1698–1756, British, 1744, Colored engraving, Sheet: 14 1/4 x 21in. (36.2 x 53.3cm

Young's Night Thoughts, Page 4, 'What, though My Soul Fantastick Measures Trod', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

St. Giles's in the Fields Parish, unknown artist, after Henry Perry, active 1810–1848, 1818, Engraving

King Henry VI, Part III: Act V, Scene VII (Queen Bess Presenting King Edward . . . with Their Infant Son), Print made by Jean B. Michel, active 1803, after James Northcote, 1746–1831, British, 1791, Etching and line engraving on medium,

June, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1789, Engraving

Modern Italy, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1854, Line engraving on medium, slightly textured, cream wove paper

Walton Bridge on Thames, Surrey, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, touched

A Negroes Dance in the Island 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), 1779, Stipple

Kelso and Dryburgh, Print made by William Home Lizars, 1788–1859, British, Published by William Home Lizars, 1788–1859, British, undated, Line engraving on medium, slightly textured, cream wove paper

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

Solway Firth from Allonby, Cumberland, Print made by Edward Francis Finden, 1791–1857, British, after Anthony Vandyke Copley Fielding, 1787–1855, British, 1832, Line engraving and etching on medium, slightly textured, cream wove paper

Fire at Sea (vignette), James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first published state on thick, slightly textured, beige, wove paper, with beige, chine

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

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

Longships Lighthouse, Lands End, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, open etching negative, Sheet: 10 x 13in. (25.4 x 33cm

The South West View of Melton Constable in the County of Norfolk, Seat of Sir Jacob Astley, Samuel Buck, 1696–1779, British, And Nathaniel Buck, active 1727–1753, c. 1741, Colored engraving, Sheet: 15 x 23 1/4in. (38.1 x 59.1cm

Ticket for Mr. George Hayter's Raffle for his Pictures of the Enlevement of Circassians, a Kurdish Bandit Chief, and an Historical Landscape, Sir George Hayter, 1792–1871, British, after Sir George Hayter, 1792–1871, British, 1828,

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,

A View of Leicester Square, London, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1753, Hand colored engraving

St. Catherine's Hill, near Guildford, Surrey, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, touched

Book of Job, Plate 14, When the Morning Stars Sang Together, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 × 10 7/8 inches (38.1 × 27.6 cm), Plate: 8 × 6 1/2 inches

George Saville, Marquess of Hallifax, Jacobus Houbraken, 1698–1780, Dutch, after unknown artist, 1740, Engraving, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm), DON'T USE: 18 1/2in. (47cm), and DON'T USE: 11 15/16in. (30.3cm

James Douglas, Fourth Earl of Morton, Regent of Scotland, Jacobus Houbraken, 1698–1780, Dutch, after unknown artist, 1740, Engraving; Proof before letters with engraver's name and date only, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm),

Antonio Vandyck, Print made by Francesco de Grado, (?), active 1693, Italian, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca. 1693, Etching, line engraving and stipple engraving on

Alcander and Nerina, 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, Line engraving

Buildings on the East Side of Regent's Street, Robert Acon, active 1828–1850, after Thomas Hosmer Shepherd, 1792–1864, British, 1828, Hand colored engraving

Caldron Snout, Teesdale, Durham, Print made by William Le Petit, early 1800s, after Thomas Allom, 1804–1872, British, Published by Fisher, Son & Co., active 1821–1848, British, 1834, Line engraving on medium, slightly textured,

Havre De Grace, Print made by William Miller, 1796–1882, British, after Clarkson Stanfield, 1793–1867, British, 1836, Line engraving on medium, slightly textured, cream wove paper

Cowes, Isle of Wight, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, 3rd state on medium, slightly textured, cream, wove paper, Sheet: 10 3/8 × 14 9/16 inches (26.4

Datur Hora Quieti, 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, mounted on,

For Children. The Gates of Paradise, Plate 18, 'I have said to the Worm . . . .', 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

Marengo, 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 with chine-collé, Sheet: 17 × 12

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