Images at Librifly

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Young's Night Thoughts, Page 1, 'Swift on His Downy Pinion Flies from Woe', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Sincerity, 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), 1781, Mezzotint and etching on moderately thick,

Canal of the Loire and Cher, Near Tours, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on medium, smooth, cream, wove paper, Sheet: 6 15/16 × 10 9/16 inches

Major General Lambert, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 7/8 x 9 1/8 inches (30.2 x 23.2 cm), Plate: 7 1/4 x 5 5/8 inches (18.4 x

The Orangerie; - or - the Dutch Cupid reposing after the fatigues of Planting, James Gillray, 1757–1815, British, 1796, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Milan, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first published state

Lady Gertrude Fitzpatrick as Sylvia, Print made by John Jones, ca. 1745–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1791, Stipple engraving, aquatint and etching on moderately thick, moderately textured, cream,

For the Sexes: The Gates of Paradise, Plate 13, 'Aged Ignorance', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 13 3/4 inches (34.9 cm),

Vortigern and Rowena, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Francis Rigaud, 1742–1810, French, active in Britain (from 1771), 1788, 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, Image: 13 3/4 x 10 3/4in. (34.9 x 27.3cm

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, Plate: 11 3/4 x 14 13/16in. (29.8 x 37.6cm) and

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,

Chateau Gaillard, from the east, John Smith, 1652–1743, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, etching and engraving, engraver's proof

Thomas Coventry, first Baron Coventry, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1741, Line engraving on medium, slightly textured, cream laid paper

Southampton or Bloomsbury Square, Sutton Nicholls, active 1725, British, after Sutton Nicholls, active 1725, British, 1754, Hand colored engraving on slightly textured, medium, white wove paper, Sheet: 16 × 21 3/8 inches (40.6 × 54.3

Chateau de la Mailleraie, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

The Girl Sleeping, Print made by John Jones, ca. 1745–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Etching, engraving, aquatint and stipple (first state) on moderately thick, moderately textured, cream, laid

Charles Fox, Print made by William Carpenter, 1818–1899, British, after William Carpenter, 1818–1899, British, 1849, Etching and stipple engraving on moderately thick, smooth, beige wove paper with beige chine collé, Sheet: 15 9/16 x

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

Weathercote Cave when Half Filled with Water, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching, engraver's proof on medium, slightly textured, cream,

Francis Rawdon-Hastings, 1st Marquess of Hastings, Sir Edwin Henry Landseer, 1802–1873, British, after Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Hoppner, 1758–1810, British, 1793-1816,

Racing: The Return from Coursing, Anthony Cardon, 1772–1813, Flemish, after William Hamilton, 1751–1801, British, 1803, Hand colored stipple engraving, Sheet: 18 7/8 x 23 15/16in. (47.9 x 60.8cm

Hampton Court, Herefordshire, Print made by James S. Storer, 1771–1853, British, after Joseph Mallord William Turner, 1775–1851, British, Published by Vernor & Hood, active 1795–1807, British, 1801, Etching and line engraving on

Attacking Stag, Print made by William Finden, 1787–1852, British, after Thomas Sidney Cooper, 1803–1902, British, undated, Line engraving on medium, slightly textured, cream wove paper

Geometrical Plan of his Majesty's Dockyard, near Plymouth, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Thomas Milton, active 1739–1756, British, shipping by John Cleveley the elder, ca.

Gerardus Segers, 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

Tynemouth Castle and Priory, Northumberland, Print made by Benjamin Comte, 1760–1851, Swiss, after Edward Dayes, 1763–1804, British, Published by Vernor & Hood, active 1795–1807, British, 1802, Etching and line engraving on

Very Unpleasant Weather, or, the Old Saying Verified 'Raining Cats, Dogs, & Pitchforks.'!!!, Print made by George Cruikshank, 1792–1878, British, Published by Thomas McLean, 1788–1875, British, 1835, Etching and stipple engraving,

Launceston, Cornwall, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (early

The Late Hall of the Company of Salters, unknown artist, ( Dale ), after Thomas Hosmer Shepherd, 1792–1864, British, 1822, Engraving

West Front of the Old Alms Houses, unknown artist, nineteenth century, after unknown artist, undated, Engraving, Sheet: 10 5/16 x 12 3/8in. (26.2 x 31.4cm

High Street, Oxford, Etched by Samuel Middiman, ca. 1750–1831, British, Engraved by John Pye, 1782–1874, British, Figures engraved by Charles Heath, 1785–1848, British, after Joseph Mallord William Turner, 1775–1851, British,

Luci Septimii Severi Caesaris In Via Appia, Print made by unknown artist, sixteenth century, Published by Antonio Lafreri, 1512–1577, French, 1546, Line engraving on medium, slightly textured, cream laid paper

Whitstable, Kent, Print made by John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1814 to 1826, Etching and line engraving; first published state on medium, slightly textured, cream wove

Male Nude Seated from panel of 'God Separating Light from Dark', 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

Colonnade of the Opera House and Waterloo Place, Samuel Rawle, 1771–1860, British, after Samuel Rawle, 1771–1860, British, 1817, Engraving

The Right Honourable George Rose, Giovanni Vendramini, 1769–1839, Italian, after Sir William Beechey, 1753–1839, British, 1811, Stipple engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 11 13/16 × 8 1/8

Light Towers of the Heve, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

A Hurricane in the Desert, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st state on moderately thick, slightly textured, beige, wove paper, Sheet: 11 5/8

Dumbarton Castle, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st published state

Cecilia, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Engleheart, 1746–1787, British, 1783, Engraving

North View of the New Buildings at the Bank of England (page 20, volume 1), Print made by T. Prattent, active 1751, after Sir John Soane, 1753–1837, British, 1797, Engraving

A Tomb, Edward Alfred Goodall, 1819–1908, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

The Bear Garden, unknown artist, after Wenceslaus Hollar, 1607–1677, Bohemian, 1810, Engraving

Minerva, Hercules, Mercury, Jupiter, and Hera, with a Youth with a Cup on a Plate, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain

Marriage A-La-Mode, Plate II: The Breakfast Scene, Bernard Baron, 1696–1762, French, after William Hogarth, 1697–1764, British, 1745, Engraving, Sheet: 14 x 17 5/8in. (35.6 x 44.8cm), dinner, food, meal

Widow Costard's Cow and Goods destained for Rent are redeemed by the generosity of Johnny Pearman, William Sedgwick, 1748–1800, after Edward Penny RA, 1714–1791, British, 1784, Stipple engraving, Sheet: 12 1/8 x 10 1/8in. (30.8 x 25.7cm

A South East View of London, Bartholomew Howlett, 1767–1827, British, after unknown artist, undated, Hand colored engraving

Set of Four: Boys Robbing an Orchard, George Morland, 1763–1804, British, 1790, Hand colored stipple engraving, Sheet: 11 7/16 x 14 15/16in. (29.1 x 37.9cm

Perseus, Having Rescued Andromeda, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1788, Line engraving

Remains of St. Barts Priory, John Greig, active 1800–1853, British, after John Greig, active 1800–1853, British, 1805, Engraving, Sheet: 9 x 6 1/8in. (22.9 x 15.6cm

Hannibal passing the Alps (vignette), Print made by W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper

The Cascade and West Front of Chiswick House, Print made by unknown artist, eighteenth century, and John Donowell, active 1753–1786, after John Donowell, active 1753–1786, ca. 1753, Engraving, Plate: 10 1/2 x 16 3/8in. (26.7 x 41.6cm

The Tear, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with cream, chine colle, Sheet: 17 × 11 7/8 inches (43.2 × 30.2 cm),

Horace Walpole, Henry Hoppner Meyer, ca. 1782–1847, British, after Sir Thomas Lawrence, 1769–1830, British, 1795, Stipple engraving on medium, slightly textured, cream, wove paper, mounted on, moderately thick, slightly textured,

Winter's Tale, Act III, Scene III, Samuel Middiman, ca. 1750–1831, British, after Joseph Wright of Derby, 1734–1797, British, active in Italy (1773–75), 1794, Engraving on moderately thick, slightly textured, cream, wove paper,

The Pilgrim's Return, Print made by William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

February - Ladies Gallery House of Commons, Print made by Adelaide Claxton, 1858–1905, British, undated, Wood-engraving, Sheet: 6 1/2 x 9 1/4in. (16.5 x 23.5cm), binoculars, costume, dress, gallery, genre subject, ladies, leisure,

A Perspective of ye Royal Palace of Somerset next ye River, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1742, Hand-colored engraving on wove paper, Sheet: 60 1/2in. (153.7cm), boats, cityscape, men, palace,

Ehrenbreitstein, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, Sheet: 17 9/16 × 12 1/8 inches

Hospice of the Great St. Bernard, Number 11 (The Dead House) (vignette), Print made by W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium,

The Bank of England and Royal Exchange, Cornhill, Henry Wallis, 1830–1916, British, after James Henry Nixon, c.1808–1847, 1840, Hand colored engraving on smooth, moderately thick, beige wove paper, Sheet: 7 5/8 × 15 1/8 inches (19.4

Gerard Douw, Print made by James Mitan, 1776–1822, British, after Gerard Dou, 1613–1675, Dutch, 1811, Line engraving on medium, slightly textured, cream laid paper

The New Hall and Library, Lincoln's Inn from the South East, John S. Shury, active 1818–1848, after unknown artist, c. 1856, Engraving

A View of the Castle and Town of Dover, James Mason, 1710–1783, British, after George Lambert, 1700–1765, British, 1762, Engraving tinted with watercolor, Sheet: 16 1/2 x 20 1/4in. (41.9 x 51.4cm

The Fairings, John Eginton, active 1763–1800, after Francis Wheatley, 1747–1801, British, 1792, Stipple engraving

Paulus Aemelius when no Public Affairs Hindered Him, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1783, Engraving

A New Love Song, Only ha'Penny a Piece, Anthony Cardon, 1772–1813, Flemish, after Francis Wheatley, 1747–1801, British, 1796, Stipple engraving, printed in color, Image: 14 x 10 3/4in. (35.6 x 27.3cm

The Southeast Prospect of the Church of St. Dunstan in the West, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1737, Engraving, Sheet: 11 x 12 1/4in. (27.9 x 31.1cm

Eight colour prints, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, etching, stipple engraving and color woodcut on moderately thick, slightly textured, beige, wove paper, Sheet: 12 5/8 x 11 inches (32 x

Sir Henry Clinton, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Smart, 1741–1811, British, Published by Thomas Watson, 1743–1781, British, Published by William Dickinson,

Wimbledon, Outer Suburb - South West, unknown artist, after Henry Winstanley, 1644–1703, British, 1678, Engraving

Venus, after Masters of Tarrochi, Print made by Arthur Burgess, 1844–1886, undated, Wood-engraving on medium, slightly textured, beige laid paper, Sheet: 6 7/16 x 6 7/16 inches (16.3 x 16.3 cm) and Image: 2 3/8 x 2 9/16 inches (6 x 6.5 cm),

The East Prospect of the Church of St. Leonard, Shoreditch, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1735, Engraving, Sheet: 10 3/8 x 11 7/8in. (26.4 x 30.2cm

Amboise, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

A North West View of the House of William Parker, Lord Monteagle, unknown artist, nineteenth century, after Jacob C. Schnebbelie, 1760–1792, British, 1825, Engraving

Mrs. Sheridan and Her Son, Print made by Thomas Nugent, active 1785–1798, after John Hoppner, 1758–1810, British, 1800, Stipple engraving (proof) on moderately thick, moderately textured, cream, wove paper, Sheet: 25 3/4 × 15 15/16

Sweet William's Farewell to Black Eyed Susan, Print made by Paul Fourdrinier, French, after Peter Monamy, 1681–1749, British, Published by Bowles & Carver, 1763–1830, British, Published by Robert Wilkinson, 1758–1825, British,

New Abbey, Near Dumfries, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, first published state

Solitude, Christian Friedrich Duttenhoffer, 1778–1846, German, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1802, Line engraving and etching on moderately thick, slightly textured, cream wove paper, Sheet:

Lincoln from the Castle, Frederick James Havell, 1801–1840, British, after Thomas Allom, 1804–1872, British, ca. 1836, Etching with stipple engraving on moderately thick, slightly textured, beige wove paper, Sheet: 5 3/8 x 8 3/4 inches

The Society for the Encouragement of the Arts (2 copies), James Barry, 1741–1806, Irish, after 1783, Engraving, Sheet: 16 x 19in. (40.6 x 48.3cm

Schools founded by the Reverend Ralph Davenant, Rector of the Parish of St. Mary, Whitechapel, Bartholomew Howlett, 1767–1827, British, after Jacob C. Schnebbelie, 1760–1792, British, 1819, Engraving

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

Putney Bridge, J. Rogers, active ca.1825–ca.1842, after Nathaniel Whittock, 1791–1860, British, 1829, Engraving

Mont Ferrier, France, Print made by James Charles Armytage, 1802–1897, British, after James Duffield Harding, 1798–1863, British, Published by Fisher, Son & Co., active 1821–1848, British, 1837, Line engraving on medium, slightly

John Home, Esq., Print made by A. Birrell, ca.1770–ca. 1820, British, after Henry Raeburn, 1756–1823, British, Published by A. Birrell, ca.1770–ca. 1820, British, 1799, Line engraving and etching on moderately thick, smooth, cream

Blois, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, (Engraver's Proof a

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,

Edgar's Tower at Worcester, Print made by M. Coote, active 1876, after unknown artist, Published by Alexander Hogg, active 1778–1824, British, before 1786, Line engraving and etching on medium, slightly textured, blued white laid paper,

St. Herbert's Chapel, Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17

A Perspective View of the Town and Fortifications of Malta, Thomas Bowles, ca. 1712–died 1753, British, after unknown artist, (Milcent Le Sr.), undated, Hand-colored engraving on wove paper, Sheet: 60 1/2in. (153.7cm), boats, cityscape,

Hands Drypointing, Francis Seymour Haden, 1818–1910, British, 1877, Etching and drypoint on medium, moderately textured, cream laid paper, Sheet: 7 5/8 x 11 1/2 inches (19.4 x 29.2 cm), Plate: 5 1/2 x 8 3/8 inches (13.9 x 21.3 cm), and

Bombardment of Odessa, Print made by William Greatbach, Born 1802, British, Published by The London Printing and Publishing Company, 1854, Line engraving on medium, slightly textured, cream wove paper

Milan, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof

Lulworth Cove, Dorset, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1811-1812, Line engraving, open etching, first state (touched) on moderately thick, moderately textured,

Strawberrys, Scarlet Strawberries, Print made by Giovanni Vendramini, 1769–1839, Italian, after Francis Wheatley, 1747–1801, British, 1795, Stipple engraving, printed in color, Plate: 16 1/4 x 12 3/4in. (41.3 x 32.4cm), basket,

MacBeth meeting the Witches, William Woollett, 1735–1785, British, after Franco Zuccarelli RA, 1702–1788, Italian, 1770, Engraving, proof before all letters on moderately thick, moderately textured, cream, laid paper, Sheet: 16 × 21

Laugharne Castle, Caermarthenshire, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Si Glacerebbe inutile per terra deserta senza frutto, E senza onore, 1774, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in

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