Images at Librifly

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Lulworth Cove, Dorset, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1811-1812, Line engraving and etching, engraver's proof on thick, slightly textured, cream, wove paper,

Dr. John Fothergill, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Livesay, 1753–1826, British, Published by Richard Livesay, 1753–1826, British, 1782, Stipple engraving in

Aysgarth Force, John Scott, 1774–1828, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Open etching and line engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 11 3/4 × 17 15/16

Chapel and Hall of Oriel College, Print made by Joseph Skelton, active 1820–1850, after James Basire, 1769–1822, British, after Joseph Mallord William Turner, 1775–1851, British, 1820-1823, Line engraving Unfinished proof before

Ticket for the Theatre Royal, Haymarket, 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, cream

Sleeping Tom's Eating House, Shoreditch, unknown artist, after unknown artist, ( John Barret ), 1811, Letterpress, engraving

Nicolaus Rockox Eques et Consularis Antu.. Aet. Anno LXXIX, Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1639, Line engraving and stipple

Vernon, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

A Village Fair, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Merchant of Venice, Act III, Sc. I, J. Barlow, active 1791, after Charles Ansell, ca.1752–active 1790, British, 1791, Engraving

Dr. Johnson, James Mitchell, 1791–1852, British, after unknown artist, undated, Engraving, Sheet: 11 3/4 x 8 3/4in. (29.8 x 22.2cm

Going to London, through 'Epping Forest', James Gillray, 1757–1815, British, 1802, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Young's Night Thoughts, Page 12, 'Its Favours Here Are Trials, Not Rewards', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

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

View of Annecy, in Savoy, Published by John Sewell, active 1735–1802, British, 1796, Line engraving on medium, slightly textured, cream wove paper

Loch Coriskin, Print made by Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper

Lyn Regis, unknown artist, after Henry Bell, 1647–1711, British, 1731-1748, Engraving

Entrance to the New Jail, Clerkenwell, unknown artist, eighteenth century-nineteenth century, after unknown artist, undated, Engraving, Sheet: 2 3/4 x 2 1/8in. (7 x 5.4cm

Golden Square, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

Diligence and Dissipation: The Wanton Revelling with her Companions (Plate7), Print made by Thomas Gaugain, 1748–1812, French, and Thomas Hellyer, active 1800, British, after James Northcote, 1746–1831, British, Published by Thomas

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

It's Auld Ailie Hersell, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving

Coteaux de Mauves, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, engraver's proof on moderately thick, moderately textured, beige, wove paper, Sheet: 8 1/16 × 11

Lady Elizabeth Foster, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, Published by William Dickinson, 1746–1823, British, 1787, Etching and

The Chaplet, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Edward Progers, Schenecker, active 1791, after Sylvester Harding, 1745–1809, British, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1793, Stipple engraving on moderately thick, slightly textured, cream, wove

View near Jubbera, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Engraving

Genoa, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, first published state

Ticket to a Concert of Ancient Vocal and Instrumental Music, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Nathaniel Dance RA, 1735–1811, British, 1786, Line engraving and etching on

Scene at a Banking House in 1745, Print made by J. Barlow, active 1791, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Line engraving and etching on medium, slightly

Studies for the Instruction of Painters, two suites. Rome, c. 1630, Print made by Oliverio Gatti, 1568–1651, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Giacomo de Rossi, 1627–1691, Italian, undated,

Temperance, George Siegmund Facius, 1750–1804, And: Johann G. Facius, 1750–after 1802, German, after Sir Joshua Reynolds RA, 1723–1792, British, 1782, Stipple engraving, Sheet: 18 1/2 x 12in. (47 x 30.5cm

Charles II, King of England, Scotland, France & Ireland, Print made by George Vertue, 1684–1756, British, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1736, Line engraving on medium, slightly textured,

Lovelace in Prison, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Francis Rigaud, 1742–1810, French, active in Britain (from 1771), Published by William Dickinson, 1746–1823,

Rome from Monte Testaccio, John Byrne, 1796–1847, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and engraving on medium, smooth, cream, wove paper, with cream, chine colle, Sheet: 11 × 14

The Right Honourable Lady Catherine Howard, Print made by Charles Wilkin, 1750–1814, British, after painting by Charles Wilkin, 1750–1814, British, 1802, Stipple engraving (proof without letters) on moderately thick, moderately textured,

Farne Island - Shipwreck, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1853-1874, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Plate 28 (page 55): 'Ungrateful, shall we grieve their hovering shades', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

The Beach Tree's Petition, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

Nymphs and Diana Bathing, 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

Venice, the Campanile, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

The Garden, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-coll

Bridport, Dorsetshire, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Etching and line engraving; first published state on medium, slightly textured, cream wove

Hampton Court Palace, Charles Westwood, Active 1819–1838, after Joseph Mallord William Turner, 1775–1851, British, 1829, Line engraving and stiplle engraving, 3rd state on medium, slightly textured, cream wove paper, Sheet: 10 11/16 ×

Diligence and Dissipation: The Wanton in her Bed Chamber (Plate 3), Print made by Thomas Gaugain, 1748–1812, French, and Thomas Hellyer, active 1800, British, after James Northcote, 1746–1831, British, 1797, Stipple engraving, open

A View of the New Bridge at Westminster, Charles Grignion, 1717–1810, British, after unknown artist, undated, Engraving, Sheet: 9 1/4 x 12 5/16in. (23.5 x 31.3cm

Romeo and Juliet, Act IV, Scene V, Print made by William Blake, 1757–1827, British, after John Opie, 1761–1807, British, Published by John Boydell, 1720–1804, British, Published by Josiah Boydell, 1752–1817, British, 1799,

Chiefswood Cottage, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, 1st published state

Isaac Watts, Simon Francois Ravenet, 1721–1774, French, active in Britain, after unknown artist, undated, Stipple engraving and line engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 9 1/8 × 6 11/16 inches

Ticket: For the Benefit of Mr. Salpietro, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Vieira, 1765–1806, 1799, Stipple engraving and etching on moderately thick, moderately

The Right Honourable Charlotte Viscountess St. Asaph, Print made by Charles Wilkin, 1750–1814, British, after John Hoppner, 1758–1810, British, 1797, Stipple engraving (proof without letters) on moderately thick, moderately textured,

The Royal Exchange, London, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1751, Engraving

Virginia Water No. 11, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, first published state on moderately thick, slightly textured, cream, wove paper, with cream,

Sir Joshua Reynolds, after Caroline Watson, 1760–1814, British, Sir Joshua Reynolds RA, 1723–1792, British, ca.1789, Stipple engraving on medium, moderately textured, beige, laid paper, Sheet: 5 1/2 × 4 7/16 inches (14 × 11.3 cm)

Lago Maggiore, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1828-1837, Line engraving, first published state on medium, smooth, cream, wove paper, with cream, chine colle, Sheet: 8 15/16 ×

A View near Twickenham, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1753, Engraving

Tours, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on moderately thick, smooth, cream, wove paper, Sheet: 6 7/8 × 10 5/8 inches (17.5 × 27 cm), Plate: 5 13/16

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

Book of Job, Plate 11, Job's Evil Dreams, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 14 7/8 × 11 inches (37.8 × 27.9 cm), Plate: 8 1/2 × 6 3/4 inches (21.6 × 17.1

A View of the Temple of Comus &c. in Vauxhall Gardens, John S. Muller, ca. 1715–1792, German, active in Britain, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), 1794, Engraving, Sheet: 10 3/4 x 15 7/8 inches (27.3

Anthony Vandyck, Alexander Bannerman, ca. 1730–1780, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), undated, Line engraving and stipple engraving on medium, slightly textured, cream

Venice (vignettes), Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; first published state on medium, slightly textured, cream wove paper,

Mr. Robert Levett, James Smetham, 1821–1889, British, 1861, Etching and engraving, Sheet: 3 15/16 x 4 1/8in. (10 x 10.5cm

Aldersgate Ward with its Divisions into Precincts and Parishes, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving

Guglielm Shakspeare, William Holl, 1807–1871, British, 1827, Line engraving on wove paper, Sheet: 9 x 5 5/8in. (22.9 x 14.3cm

Tancarville, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

Mr. Sharp and Mr. Blunt, Published by Matthew Darly, active 1754–1778, 1773, Line engraving on medium, slightly textured, cream laid paper

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,

Lochmaben Castle, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Taking the Veil, Print made by William Humphrys, 1794–1865, Irish, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

The Monument of King Edward III in Westminster Abbey, Claude Du Bosc, c.1711–1740, after Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, ca. 1726-1740, Engraving on medium smooth laid paper, Sheet:

Confluence of the Seine and Marne, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving

Plate 40 (page 90): 'That touch, with charm celestial heals the soul', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

A Villa on the Night of a Festa di Ballo (vignette), Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly

The Sea The Sea (vignette), James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, first published state on thick, slightly textured, beige, wove paper, with beige,

The Hall of Greenwich Hospital, James S. Storer, 1771–1853, British, after Frederick Nash, 1782–1856, British, 1804, Engraving

Palemon and Lavinia, James Gillray, 1757–1815, British, after unknown artist, ( J. C. ), 1805, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

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 medium, slightly

The Savoy, from the River Thames, Richard Sawyer, active 1820–1830, after George Vertue, 1684–1756, British, 1808, Engraving

The Laterne of St. Cloud, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Plate 3 (page 4): 'What, though my soul fantastick measures trod', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Part of Lambeth Palace from the Bishops Walk, John Greig, active 1800–1853, British, after C. John M. Whichelo, 1784–1865, British, 1804, Engraving

Edystone Lighthouse, Print made by Henry Winstanley, 1644–1703, British, between 1699 and 1708, Line engraving on medium, slightly textured, cream laid paper

Illustrations to Samuel Richardson's 'The Life of Pamela', illustrated by Joseph Highmore, L. Truchy, 1721–1764, after Joseph Highmore, 1692–1780, British, 1762, Engraving, Plate: 11 3/4 x 14 13/16in. (29.8 x 37.6cm) and Sheet: 14 3/16 x

Putney, Thomas Preist, active 1740-1750, British, after Thomas Preist, active 1740-1750, British, 1738, Engraving, Sheet: 10 x 14 1/8in. (25.4 x 35.9cm

St. Florent, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, Engraver's Proof (ab) on moderately textured, slightly textured, cream, wove paper, Sheet: 8 5/8 × 11

Gainsborough, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Gainsborough RA, 1727–1788, British, undated, Stipple engraving and etching on medium, slightly textured, cream laid

Morning, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1753, Etching and line engraving with hand coloring on moderately thick, rough,

A View of the Sea from the Palace of the Vice Roy at Naples, Print made by unknown artist, (Dubois), Published by John Bowles, 1701–1779, British, undated, Etching and line engraving on medium, slightly textured, cream laid paper, laid on

A View of Dr. Lettson's Fountain and Cottage at Grove Hill, Camberwell Surry, unknown artist, after unknown artist, ( Samuel ), 1795, Engraving, Sheet: 6 x 8 3/8in. (15.2 x 21.3cm

Mausolei Ab Augusto Imp, Print made by Etienne Dupérac, ca. 1535–1604, French, Published by Antonio Lafreri, 1512–1577, French, 1575, Line engraving on medium, slightly textured, cream laid paper, Sheet: 22 × 15 7/8 inches (55.9 ×

Young's Night Thoughts, Page 92, 'When Faith Is Virtue, Reason Makes It So', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

A Tea Garden, Francis David Soiron, Born 1764, after George Morland, 1763–1804, British, 1790, Stipple engraving, printed in color, Plate: 18 1/2 x 21 3/8in. (47 x 54.3cm), dog (animal), genre subject, pond, teacups, teapot, toys

Lubber's Hole - alias - The Crack'd Jordan, James Gillray, 1757–1815, British, 1791, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

A View of the Great Room, etc. at Hall-Barn, William Woollett, 1735–1785, British, 1760, Engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 17 1/4 × 23 7/8 inches (43.8 × 60.6 cm), Plate: 14 3/4 × 21 3/8

A View of the Mole and the New Castle at Naples, Print made by unknown artist, (Dubois), Published by John Bowles, 1701–1779, British, undated, Etching and line engraving on medium, slightly textured, cream laid paper, laid on

A View of Westminster from Lambeth, Paul Fourdrinier, French, after John Maurer, active 1713–1761, 1744, Engraving, Sheet: 10 5/16 x 16 11/16in. (26.2 x 42.4cm

Young Girl with a Mouse on a String Teasing a Cat, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1782, Engraving

Genoa, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof

Henricus Riche Comes Hollandiæ Baro de Kensington Nobilissimi Ordinis Garterii Eques Caroli Lo Regis Magnæ Britainæ a Consiliis etc., Peter Clouet, 1629–1670, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain

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