Images at Librifly

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Hampton Court Palace, Charles Westwood, Active 1819–1838, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

The Legend of Sleepy Hollow, Print made by Charles Rolls, 1800–active 1830, British, after Charles Robert Leslie, 1794–1859, British, 1823, Line engraving on medium, slightly textured, cream laid paper

A Front View of the Church of Madonna della Salute belonging to the Regulars of the Congregation of Somascha with their Monastry Situate on the Grand Canal of Venice, Remi Parr, active 1723–1750, British, after unknown artist, (Marieschi,

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

Students' Life in Germany, The Prince of Fools, Print made by Albert Henry Payne, 1812–1902, British, 1846, Line engraving on medium, slightly textured, cream wove paper

Brussels - Distant View, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Caligula's Palace and Bridge, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving, first published state on thick, moderately textured, beige wove

One of Seven Engraved Reproductions from 'Roger's Italy', M. H. Long, after Joseph Mallord William Turner, 1775–1851, British, 1884, Engraving

Hermes and Muses, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Edward Francis Burney, 1760–1848, British, 1789, Engraving

Book of Job, Plate 1, Job and His Family, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/4 × 10 3/4 inches (38.7 × 27.3 cm), Plate: 7 3/4 × 6 1/2 inches (19.7 ×

Londen. Cum Privilegis Ordinum Holland Hollandice et Weft Frifice, unknown artist, seventeenth century, after unknown artist, undated, Engraving

Emma, Lady Hamilton, Print made by John Jones, ca. 1745–1797, British, after George Romney, 1734–1802, British, 1785, Stipple engraving (first state) on moderately thick, moderately textured, cream, laid paper, Sheet: 15 × 10 7/8

Covent Garden Piazza, Edward Rooker, 1724–1774, British, after Thomas Sandby RA, 1721–1798, British, 1777, Engraving, Sheet: 6 7/8 x 9in. (17.5 x 22.9cm

Sion House, Middlesex, John Greig, active 1800–1853, British, after unknown artist, ( I. or J. Powell ?), 1805, Engraving

A View of Little St. Mark's Place at Venice to the Sea, Thomas Bowles, ca. 1712–died 1753, British, after unknown artist, (Marieschi, Michael), undated, Hand-colored engraving on wove paper, Sheet: 60 1/2in. (153.7cm), arches,

Paestum (Vignette), Print made by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

The Limehouse Dock, Regent's Canal, Print made by Frederick James Havell, 1801–1840, British, after Thomas Hosmer Shepherd, 1792–1864, British, Published by Jones & Co., active 1822–1850, British, 1827, Line engraving on medium,

View of Orvieto, Samuel Bradshaw, 1830–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

The South View of the Tower of London, Nathaniel Buck, active 1727–1753, after Samuel Buck, 1696–1779, British, 1737, Engraving

Mrs. Siddons, in the Character of the Tragic Muse, Print made by Francis Haward, 1759–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1787, Mezzotint, etching and stipple engraving (first state) on moderately thick,

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,

Interior of the Choir of the Priory Church of St. Barts the Great, Bartholomew Howlett, 1767–1827, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1822, Engraving, Sheet: 12 3/4 x 10 3/8in. (32.4 x 26.4cm

New Abbey, near Dumfries, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Engraving

Analysis of Beauty, Plate II, 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,

Guild Hall, William Henry Toms, ca. 1700–ca. 1750, British, after unknown artist, 1739, Engraving

Paris from the Barriere de Passy, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Theodorus Galle, Calcographus Anterpiæ, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple engraving, line engraving and etching

Jerusalem with the Walls, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

A Map of the Parishes of Lambeth in Christ Church, unknown artist, after unknown artist, 1755, Engraving

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

The Invasion, Plate I, France, 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

A View of the Celebrated Mr. Pope's House at Twickenham, James Hulett, fl.1740–m.1771, British, after unknown artist, undated, Engraving

Nineveh, Moussul on the Tigris, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Land Discoverd by Columbus, 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, Sheet: 17 1/8 ×

Aurelian Walls, Pyramid of Cestius, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on moderately thick, slighlty textured, cream, wove

Hospice of the Great St. Bernard, Print made by W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1829, Etching and line engraving on medium, slightly textured, cream wove paper with chine-collé,

Weathercote Cave when half filled with Water, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Etching and line engraving on moderately thick, slightly textured, cream, laid paper,

James Usher, Archbishop of Armagh, Print made by George Vertue, 1684–1756, British, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1738, Line engraving on medium, slightly textured, cream laid paper

Arundel Castle and Town, Sussex, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, first published state

Havre, Tower of Francis I, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Assos, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Scenographia Americana: A View of Bethlem, the Great Moravian Settlement in the Province of Pennsylvania, Paul Sandby RA, 1731–1809, British, after drawings by Thomas Pownall, 1722–1805, British, 1758-1760, Engraving, DON'T USE: 17 7/8

The Parent Restor'd or the Blessings of Peace, William Nutter, 1754–1802, British, after William Redmore Bigg, 1755–1828, British, 1797, Stipple engraving, Sheet: 14 x 11 5/8in. (35.6 x 29.5cm

Keswick Lake, 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 × 6 5/16

Reverend John Moore, Lord Archbishop of Canterbury, John Jones, ca. 1745–1797, British, after George Romney, 1734–1802, British, 1792, Stipple engraving on moderatlely thick, moderately textured, beige, laid paper, Sheet: 19 3/8 ×

Faith, George Siegmund Facius, 1750–1804, And: Johann G. Facius, 1750–after 1802, German, after Sir Joshua Reynolds RA, 1723–1792, British, 1781, Stipple engraving, Sheet: 18 1/2 x 12in. (47 x 30.5cm

Christ Church, Spitalfields, Robert William Smart, active 1820–1834, after Robert Bremmel Schnebbelie, active 1803–1849, 1811, Engraving, Sheet: 13 3/8 x 10 3/8in. (34 x 26.4cm

Hotel de Ville and Pont d'Arcole, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof, touched, (early

The Mewstone, Entrance of Plymouth Sound, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1815, Etching and line engraving on moderately thick, slightly textured, cream, wove paper,

Putti assisting Woman carve a Bust of a Soldier (early state), Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Between Clairmont and Mauves, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Mercury, Minerva, and Paris, 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

A set of seven, untitled, each dedicated: To the Right Hon'ble. Thomas Lord Viscount Weymouth...from the Original Painting in Long Leat Hall. Riders and hounds resting in a rocky landscape., L. Truchy, 1721–1764, Pierre Charles Canot, ca.

Harfleur, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and line engraving, (Engraver's Proof c

Tancarville, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving (First Published State

The Bacchante, Print made by Edward Calvert, 1799–1883, British, Engraved by Welby Sherman, active 1827, Print formerly attributed to Welby Sherman, active 1827, ca. 1827, Wood-engraving on medium, smooth, cream Asian paper, Sheet: 4

Remains of the East Gate, Bermondsey Abbey, Print made by John Wykeham Archer, 1808–1864, British, 1842, Etching and line engraving on medium, slightly textured, cream wove paper

The Physick; - or - The News of Shooting the King of Sweden, James Gillray, 1757–1815, British, 1792, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

The Invasion, Plate II, England, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper

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

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

Carew Castle, Pembroke, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 × 14

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

Dandies Having a Treat, Print made by Robert Isaac Cruikshank, 1789–1856, British, Published by Thomas Tegg, 1776–1846, British, 1818, Etching and stipple engraving, hand-colored on moderately thick, slightly textured, beige wove

A North West View of St. Paul's Cathedral, London, John S. Muller, ca. 1715–1792, German, active in Britain, after unknown artist, 1753, Hand colored engraving, Sheet: 10 1/8 x 15 5/8in. (25.7 x 39.7cm

Eton, from the Slough Road, William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, 1803-1810, Line engraving, published state (India

Burial at Sea, after John Wilson Carmichael, 1799–1868, British, Print made by Edward P. Brandard, 1819–1898, British, Published by Virtue, active 1820s–1908, British, 1857, Line engraving on medium, slightly textured, cream wove

Ticket to Wynnstay Theatre, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Henry William Bunbury, 1750–1811, British, 1785, Line engraving

Dido and Aeneas, William Woollett, 1735–1785, British, And: Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Jones, 1742–1803, British, active in Italy (1776–83), And: John Hamilton

Frontispiece to the Artist's Catalogue, 1761, 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,

Bolt In Tun. Fleet Street, J. Sleath, active 1820, after unknown artist, undated, Engraving

Judith, or Cowper's Oak, Print made by Caroline Watson, 1760–1814, British, after Margaret Meen, active ca. 1775–1824, British, Published by Joseph Johnson, 1738–1809, British, Text by William Hayley, 1745–1820, British,

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

Two Girls Under an Umbrella, 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 card mounted on moderately

Theatrum Sive Coliseum Romanum, Print made by unknown artist, sixteenth century, after Ambrogio Brambilla, active ca. 1579–1599, Italian, Published by Giovanni Giacomo de Rossi, 1627–1691, Italian, Published by Claude Duchet, died ca.

The Belle of the Village, Print made by George Baxter, 1804–1867, British, 1854, Aquatint, stipple engraving, and etching with color woodcut on moderately thick, slightly textured, cream wove paper laid on contemporary mount made of thick

Field of Waterloo, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, engraver's proof

Lee Nane and Killery Harbour, Connemara, Published by Newman & Co., active 1820, after unknown artist, 1840, Engraving

Joseph Warton, Niccoló Schiavonetti, 1771–1813, Italian, after Sir Joshua Reynolds RA, 1723–1792, British, 1807, Stipple engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 7 11/16 × 4 7/8 inches (19.5 ×

Industry and Idleness, Plate IX, The Idle 'Prentice Betrayed by a Prostitute, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833, Etching and engraving on medium, slightly textured,

No. 2 A Table of Heiroglyphics found at Axum, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1771-1789, Engraving

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

Venus lending Juno her Belt, 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, Engraving

Chelsea Pensioners, John Burnet, 1784–1868, British, after Sir David Wilkie, 1785–1841, British, 1831, Engraving, Sheet: 21 1/2 x 30 1/2in. (54.6 x 77.5cm

Theodore Galle/ Theodorvs Galle/ Calcographvs Antverpiae, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Engraving

Rokeby, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, 1813, Etching and line engraving on chine collé laid down on wove paper., Image: 4 3/4 x 3 1/2in. (12.1 x 8.9cm) and Sheet: 17 x 11 1/2in. (43.2 x

Mantes, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof (unfinished

The Rialto, Venice, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching, line engraving and stipple engraving, 2nd state on moderately thick, moderately textured, cream, laid

Battersea, Thomas Preist, active 1740-1750, British, after Thomas Preist, active 1740-1750, British, 1738, Engraving, Sheet: 9 7/8 x 14 1/2in. (25.1 x 36.8cm

A Perspective View of the Chapel adjoining to Wakefield Bridge, in the County of York, which was built by King Edward the fourth in Memory of his Father Richard, Duke of York, William Henry Toms, ca. 1700–ca. 1750, British, after unknown

Lillebourne Chateau, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof

3 Characters, 4 Caricaturas, Print made by unknown artist, after William Hogarth, 1697–1764, British, Published by John Tallis & Co, active 1838–1840, British, 1833, Etching and line engraving on medium, slightly textured, cream wove

Thomas Moore, Esq., William Thomas Fry, 1789–1843, British, after unknown artist, 1822, Engraving

Industry and Idleness, Plate VII, The Idle 'Prentice Returned from Sea, and in a Garret with a Prostitute, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833, Etching and line engraving

Ferdinandus III, Dei Grat. Imperator Rom. Semp. August. Germ. Hung. Boh. Rex: Archidux Aust. Dux Burgund, etc., Cornelius Galle, 1576–1650, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34;

Pantheum Romanum nunc Mariae Cognomento, Print made by Ambrogio Brambilla, active ca. 1579–1599, Italian, Print made by Claudio Duchetti, died ca. 1585, French, Published by Antonio Lafreri, 1512–1577, French, between 1581 and 1586,

Grolier with the Printer Aldus Manutius, Print made by Leopold Flameng, 1831–1911, French, after Francois Flameng, 1856–1923, French, 1882, Etching and line engraving on medium, smooth, cream wove paper, Sheet: 19 1/4 × 19 3/4 inches

Mayence (Vignette), William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

Bermondsey Abbey, Surrey, Richard Bernard Godfrey, 1728–op.1794, British, after unknown artist, 1785, Engraving on slightly textured, medium, white wove paper, Sheet: 4 5/8 × 6 1/4 inches (11.7 × 15.9 cm), architectural subject

Inside of the Red Bull Playhouse, unknown artist, nineteenth century, after unknown artist, 1809, Engraving, Sheet: 10 3/4 x 7 1/2in. (27.3 x 19.1cm

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