Images at Librifly

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West Window of the Chapel, New College Oxford: The Shepherd Offering, Nativity Scene, George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1805, Stipple engraving on moderately thick, moderately textured,

The Thames at Mortlake, Print made by William John Cooke, 1797–1865, Irish, after Joseph Mallord William Turner, 1775–1851, British, 1836-1838, Line engraving; engraver's proof, touched 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, engraver's proof

The Heroism of Prince Edward, son of Henry VI, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1789, Engraving

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,

Hotel de Ville and Pont d' Arcole, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving on Not signed

Philip II King of Spain, George Vertue, 1684–1756, British, after Titian, 1488/90–1576, Italian, 1735, Engraving on medium, slightly textured, blued white, laid paper, mounted on, moderately thick, slightly textured, cream, wove

Kelso, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Francis Earl of Bedford, Print made by George Vertue, 1684–1756, British, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1737, Line engraving, stipple engraving and etching on

None, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1808, Etching and line engraving on medium, slightly textured, cream wove paper

General Washington, Print made by Thomas Cheesman, 1760–1834/35, British, after John Trumbull, 1756–1843, American, 1796, Color-printed stipple engraving and etching with hand coloring in watercolor on medium, slightly textured, cream

One of Six Remarkable Views in the Provinces of New York, New Jersey and Pennsylvania from SCENOGRAPHI AMERICANA: A Design to represent the beginning and completion of an American Settlement or Farm., James Peak, 1703–1782, British, Paul

Illustrations of Imitation of Eclogue I, Page 17, William Blake, 1757–1827, British, Published by Robert John Thornton, 1768–1837, British, 1821, Wood-engraving and letterpress on medium, slightly textured, cream wove paper, Spine: 7

Receipt Ticket, Elisha Kirkall, ca. 1682–1742, British, 1724, Chiaroscuro woodcut and engraving, Sheet: 7 1/2 x 9 1/2in. (19.1 x 24.1cm

The Distinguishing Characteristic of Masonry, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Stothard, 1755–1834, British, 1802, Stipple engraving, Sheet: 23 x 28in. (58.4 x 71.1cm

Lavinia Spencer (née Bingham), Countess Spencer, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, ca. 1787, Stipple engraving on medium, slightly textured,

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

Hannibal Passing the Alps, Print made by W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream laid paper

Tooting Church, Print made by George Cooke, 1781–1834, British, after James Duffield Harding, 1798–1863, British, 1827, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Sheet: 4 7/16 x 5 1/8 inches

Sandy Knowe, or Smailholm Tower, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving, engraver's proof, touched

D. Kenelmus Digbi Eques, et Astrologus Caroli Regis Magnæ Britaniæ, Robert van Voerst, 1597–1636, Dutch, active in Britain (from 1627), after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34;

One of six perspective designs for the Concave Mirror and engraved mirrors in Vauxhall Gardens, Print made by Jacob Bonneau, 1741–1786, British, after Samuel Wale RA, 1721–1786, British, and after John Gwynn RA, 1713–1786, British,

Miss Eliza Farren, Print made by Joseph Collyer, 1748–1827, British, after John Downman, 1750–1824, British, Published by M. Lawson, 18th century, British, 1788, Stipple engraving and etching on moderately thick, moderately textured,

Lord Burghersh as a Boy, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1788, Stipple engraving on medium, moderately textured, cream, laid paper, Sheet:

Joppa, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

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

Florence, from the Chiesa al Monte, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Line engraving and etching, engraver's proof on moderately thick, slighlty textured, cream, wove

The Monster going to take his Afternoons Luncheon, James Gillray, 1757–1815, British, 1790, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm), dinner, food, meal

Girl Smiling, Print made by Johann Friedrich Bause, 1738–1814, German, Sir Joshua Reynolds RA, 1723–1792, British, 1784, Line engraving and stipple engraving on moderately thick, moderately textured, cream laid paper, Sheet: 15 9/16 x

Chateau Gaillard, from the South, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Rochester, Stroud and Chatham, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1838, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 1/16 × 15

The Mewstone, Entrance of Plymouth Sound, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1815, Line engraving, first published state on thick, moderately textured, cream, laid

Nantes, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving (First Published State

Chateau Gaillard, From the South, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving on steel

Views of the East Side of the House of Lords etc., John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1807, Engraving

Cologne, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1824, Etching and line engraving with graphite; early engraver's proof, touched on medium, slightly textured, cream

Nymph and Cupid, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Vieira, 1765–1806, 1800, Engraving

Tours - looking backwards, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, engraver's proof (early) on moderately thick, slightly textrued, beige, wove paper, Sheet: 8

At the Villa Ludovisi at Rome, Print made by Placido Columbani, born ca. 1744, active 1801, Italian, active in Britain, after Placido Columbani, born ca. 1744, active 1801, Italian, active in Britain, Published by Isaac Taylor,

Pont de l'Arche, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving

For Children. The Gates of Paradise, Plate 17, 'Death's Door', 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),

Charlton Manor House, S. Sparrow, active 1795, after Charles Tomkins, 1757–1823, British, 1801, Engraving

Gertrude of Wyoming - the Valley, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

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

Clarendon House, Print made by John Thomas Smith, 1766–1833, British, 1798, Line engraving on medium, slightly textured, cream wove paper

Robert van Voerst, Print made by Thomas Chambars, ca. 1724–1789, British, after Anthony van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), undated, Line engraving, stipple engraving and etching on

The Death of Wat Tyler, Print made by Thomas Milton, 1743–1827, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1810, Etching and line engraving on thin, slightly textured,

An Alcove, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving and stipple engraving on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17 1/4 × 11 3/4

Plate III: View taken in the County of South Representing taking the Flax out of the Bog when it has lain a sufficient time to seperate the Rind, which is the Flax from the Stem, & strengthen it, spreading it to dry, stoving, beetling, and

Veue du Parc de St. Jacques, S. Torres, active 1752?, after Jacques Rigaud, 1681–1754, French, 1752, Hand colored engraving

Henricus Steenwyck, 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 engraving (2nd state) on medium, slightly

Joatham, 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

Ancestor of Christ from Naason Lunette (Right Figure), 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

A Pastoral Scene with Cow, Victor Marie Picot, 1744–1805, French, after Pierre F. Laurent, 1739–1809, 1777, Engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 21 5/8 × 17 1/4 inches (54.9 × 43.8 cm),

The Charter- House Hospital, William Henry Toms, ca. 1700–ca. 1750, British, after unknown artist, undated, Engraving, Sheet: 8 1/2 x 12 15/16in. (21.6 x 32.9cm

St. George's Chapel, Regent Street, James Tingle, active ca. 1830–1860, after Thomas Hosmer Shepherd, 1792–1864, British, 1827, Engraving

Diligence and Dissipation: The Modest Girl and the Wanton/ Fellow Servants in a Gentleman's House (Plate 1), Print made by Thomas Gaugain, 1748–1812, French, and Thomas Hellyer, active 1800, British, after James Northcote, 1746–1831,

Plate 37 (page 86): 'His hand the good man fastens on the skies', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Plate 20 (page 35): 'Teaching, we learn; and giving, we retain', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Hungerford Market, Maddocks, active 1825, after Robert Bremmel Schnebbelie, active 1803–1849, 1825, Engraving on smooth, moderately thick, cream wove paper, Sheet: 13 5/8 × 10 1/2 inches (34.6 × 26.7 cm), Plate: 12 7/8 × 10 inches

Milton, Robert Hartley Cromek, 1770–1812, British, 1801, Engraving, Sheet: 3 5/8 x 6 3/16in. (9.2 x 15.7cm

Rouen - Distant View, William Richardson, active 1842–1877, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, first published state

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

Sir Godfrey Kneller, Print made by John Corner, 1788–1825, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), Published by Longman, Hurst, Rees, Orme & Brown, active 1804–1914, British, and Baynes & Son,

Plate 36 (page 80): 'The thunder if in that the ALMIGHTY dwells', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

View of Sion House from the Banks of the Thames, John Hassell, 1767–1825, British, after Nicholas Pocock, 1740–1821, British, Published by John Brydon, active 1784–1806, British, 1799, Aquatint and etching, with stipple engraving,

The East Prospect of the Abby of St. Peter and of the Parish Church of St. Margaret, Westminster, unknown artist, eighteenth century, after Benjamin Cole, 1697–1783, British, undated, Engraving

A Convent Gate, Henry Le Keux, 1787–1868, British, after Thomas Stothard, 1755–1834, British, 1829, Line engraving on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17 3/8 × 12 inches (44.1 × 30.5

Asa, 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

Nantes, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on moderately thick, slighlty textured, beige, wove paper, with cream, chine colle, Sheet: 13 5/16 × 8 9/16

Coteaux de Mauves, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on medium, smooth, white, wove paper, Sheet: 6 7/8 × 10 5/8 inches (17.5 × 27 cm), Plate: 5 7/8 ×

View of the Front of Sir Paul Pindar's House on the West Side of Bishopsgate Street, Richard Sawyer, active 1820–1830, after Thomas Hosmer Shepherd, 1792–1864, British, 1812, Engraving, Sheet: 15 5/16 x 11 7/8in. (38.9 x 30.2cm

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

The Chillington Oxen, Print made by John Porter, active 1838, after Lucas Beattie, active 1835–1838, 1838, Line engraving and mezzotint with hand coloring on moderately thick, slightly textured, cream wove paper, Sheet: 18 1/4 x 21 1/2

Sir Thomas Lawrence P. R. A., Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, Published by Walter Benjamin Tiffin, 1795–1877, British, and Rittner & Co, 1827–1919, French, 1830,

Devonport and Dockyard, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, 1st state on moderately thick, slightly textured, cream, wove paper; with cream, chine

A Rake's Progress, Plate I: He Takes Possession, William Hogarth, 1697–1764, British, 1735, Line engraving, Sheet: 12 1/2 x 15 3/16in. (31.8 x 38.6cm

Illustrations for 'Gil Blas, plate iX, Print made by James Heath, 1757–1834, British, after Thomas Stothard, 1755–1834, British, 1781, Line engraving on medium, slightly textured, cream wove paper

Mount St. Michael, Cornwall, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (touched

Mr. Fawkes Gallery, Henry Moses, ca. 1782–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1819-1820, Line engraving on medium, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 8 7/8 × 11

The House at Chiswick in the County of Middlesex, Print made by Pieter van der Aa, 1659–1733, Dutch, 1727, Line engraving on medium, slightly textured, cream laid paper, Sheet: 6 1/4 × 6 3/4 inches (15.9 × 17.1 cm

Valle Crucis Abbey, Denbighshire, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Francis Beaumont, Esquire, Print made by George Vertue, 1684–1756, British, 1729, Line engraving on medium, slightly textured, cream laid paper

Anne of Denmark, Queen of King James I, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Cornelius Johnson, 1593–1661, British, ca. 1745, Line engraving on medium, slightly textured, cream laid paper

The Duke's Theatre in Dorset Gardens, R. Page, active 1816–1825, after unknown artist, 1825, Engraving

Nicholas Revett, William Camden Edwards, 1777–1855, British, after Allan Ramsay, 1713–1784, British, Published by Priestley & Weale, active 1798–1830, British, 1827, Line engraving and etching on moderately thick, moderately

Cordelia, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1784, Engraving, King Lear, play by William Shakespeare, literary

A View of the Mouth of a Coal Pit near Broseley in 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

The Rural Italian's Wedding, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), And Francois Vivares, 1709–1780, French, after Franco Zuccarelli RA, 1702–1788, Italian, 1775, Engraving, Sheet: 19 3/4 x 19

Shoreditch, George Cooke, 1781–1834, British, after unknown artist, 1827, Engraving

Watchet, Somersetshire, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and line engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 11 1/2 × 17

Perseus, having rescued Andromeda from imminent danger, is Enamoured with her Beauty, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain

William Shakespeare, Print made by Martin Droeshout the younger, 1601–after 1650, British, 1632, Line engraving on medium, slightly textured, cream laid paper

The Charter House from the Square, John Greig, active 1800–1853, British, after John Greig, active 1800–1853, British, 1804, Engraving, Sheet: 7 x 8 1/2in. (17.8 x 21.6cm

An Old Manor House, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

St. Caterine's Hill, near Guildford, Surrey, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, first published state

Adrianus Brauwer, Gryllorum Pictor Antuerpiæ, Schelte A. Bolswert, 1586–1659, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple engraving and line engraving,

Ezekias, 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

Christopher Sharp, Cambridge, Edward Harding, 1755–1840, British, after Sylvester Harding, 1745–1809, British, Published by Sylvester Harding, 1745–1809, British, 1793, Stipple engraving and etching on moderately thick, moderately

The Golden Bough, Print made by unknown artist, nineteenth century, after print by Thomas Abiel Prior, 1809–1886, British, Formerly attributed to Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851,

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