Images at Librifly

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James Northcote, Print made by Henry Hoppner Meyer, ca. 1782–1847, British, after James Northcote, 1746–1831, British, 1815, Stipple engraving on medium, slightly textured, cream wove paper, Sheet: 21 7/8 × 14 3/4 inches (55.5 × 37.5

Cardinal Wolsey, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1738, Line engraving on medium, slightly textured, cream laid paper

A National Beggar On Horseback, Or, An Illustrious Overshot At Newmarket..., (?) William Dent, active 1784–1793, 1792, Line engraving with water color on laid paper, Sheet: 8 3/8 x 11 5/8in. (21.3 x 29.5cm

A Concert, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on moderately thick, slightly textured beige, wove paper, with beige, chine colle, Sheet: 17 3/16 × 11 3/4 inches (43.7

Sir Godfrey Kneller, Print made by unknown artist, (Cooper), after unknown artist, undated, Crayon manner, stipple engraving, and etching on moderately thick, slightly textured, cream wove paper, Sheet: 12 5/8 x 9 15/16 inches (32.1 x 25.2

A Villa on the Night of a Festa di Ballo, 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

British Museum, Egyptian Room, Print made by Edward Radclyffe, 1809–1863, British, 1844, Line engraving on medium, slightly textured, cream wove paper

Dissolution of a Cutter, Benjamin Thomas Pouncey, active 1772–1799, British, after John Kitchingman, c. 1740–1781, British, 1785, Engraving with watercolor, Sheet: 9 x 12in. (22.9 x 30.5cm

Fulham Palace, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1798, Engraving

Part of Chester Castle, Print made by William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, Published by Thomas Cadell the younger, 1773–1836, British, 1810, Etching and line engraving on medium,

Andromache Bewailing the Death of Hector, Domenico Cunego, 1726–1803, Italian, after Gavin Hamilton, 1723–1798, British, active in Italy (1744–48 and 1756 on), 1764, Line engraving, Plate: 15 7/8 x 24 1/8in. (40.3 x 61.3cm), chain,

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,

King William the Conquerer, George Vertue, 1684–1756, British, after George Vertue, 1684–1756, British, 1745, Engraving on medium, slightly textured, cream, laid paper, mounted on, moderately thick, slighlty textured, cream, wove

Nantes, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1837, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, with gray chine colle,

E.S.E. View of John Bunyan's Meeting House in Zoar Street, Gravel Lane, Southwark with the Adjacent Plan, Published by Robert Wilkinson, 1758–1825, British, 1814, Etching and line engraving on medium, slightly textured, cream wove paper

Florence from the Chiesa al Monte, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, first published state on thick, slightly textured, beige, wove paper, with cream,

Rome, Castle of St. Angelo (vignette), Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828 to 1830, Etching and line engraving; engraver's proof on medium, slightly textured,

Jerusalem from the Latin Convent, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Charles Lord Talbot, Lord High Chancellor, Print made by Jacobus Houbraken, 1698–1780, Dutch, after John Vanderbank, 1694–1739, British, 1739, Line engraving on medium, slightly textured, cream laid paper

London Bridge--- Demolition, Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1832, Engraving, Sheet: 13 x 16 3/4in. (33 x 42.5cm

Jerusalem, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving

Montague House, Sutton Nicholls, active 1725, British, 1731-1748, Engraving, architectural subject, carriages, horses (animals), mansion, pedestrians

Venus attired by the Graces, 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, Sheet: 17 3/4 x 19 7/8in. (45.1 x

Snowstorm, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

The Royal Military Academy at Woolwich, Michael 'Angelo' Rooker, 1746–1801, British, after Paul Sandby RA, 1731–1809, British, 1775, Engraving

Holland House, Charles John Smith, 1803–1838, British, after unknown artist, undated, Engraving

The Tomb of Sir Nicholas Throkmorton Kt. in the Church of St. Catherine Cree, unknown artist, eighteenth century, after unknown artist, 1793, Engraving, Sheet: 8 7/8 x 6 7/8in. (22.5 x 17.5cm

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,

Campden House, John Scott, 1774–1828, British, after unknown artist, undated, Engraving

Guildhall, London, with the Merchants Assembled there after the Destruction of the Royal Exchange, C. Matthews, active 1838–1842, after C. Matthews, active 1838–1842, 1838, Hand colored engraving

Shooting The Spanish Pointer, William Woollett, 1735–1785, British, after George Stubbs, 1724–1806, British, 1768, Engraving, Sheet: 17 1/2 x 22 1/4in. (44.5 x 56.5cm

A set of seven, untitled, each dedicated: To the Right Hon'ble. Thomas Lord Viscount Weymouth...from the Original Painting in Long Leat Hall. Three men digging out a fox's earth, watched eagerly by hounds..., L. Truchy, 1721–1764, Pierre

A Plan of Streets, Roads, and Churches, between Black Fryers Bridge, London Bridge, Westminster Bridge, Lambeth, Newington Butts, and St. Margarets Hill...., unknown artist, after unknown artist, 1769, Engraving

Paris from Pere-la-Chaise, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof

Columbus Breaking the Egg, 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,

Francis Wouters, Alexander Bannerman, ca. 1730–1780, after Francis Wouters, 1614–1659, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 12 x 9 1/8 inches (30.5 x 23.2 cm), Plate: 7 1/8 x 5 1/2 inches (18.1

The Bird's Nest, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Stipple engraving and line engraving on thick, moderately textured, cream, wove paper, with gray, chine colle, Sheet: 17 1/8 × 11

Geometrical Plan of his Majesty's dockyard, at Sheerness, 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.

Back Front of the House and Part of the Garden 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 3/8 x 16

The Bellerophon, Plymouth Sound, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first published state

The New River Head near Sadler's Wells, John Swaine, 1775–1860, British, after John Swaine, 1775–1860, British, 1795, Engraving

The Death of Earl Siward, James Smetham, 1821–1889, British, 1861, Etching and engraving, Sheet: 6 1/8 x 3 1/16in. (15.6 x 7.8cm

Stourport Bridge, Worcestershire, 1815, Henry Hobson, born 1814, British, after John Preston Neale, 1771/80–1847, British, After 1815, Engraving

View of the Encampment in Hyde Park, from Marshal Sac's Tent, Francis Chesham, 1749–1806, British, after Paul Sandby RA, 1731–1809, British, 1780, Engraving

Santa Sabas and the Brook Kidron, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof touched

Her Majesty Queen Victoria and Royal Family, unknown artist, after Matthew White Ridley, 1837–1888, British, 1877, Wood engraving (24 blocks

Part of Old London Bridge, St. Magnus and the Monument, Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1831, Hand colored engraving, Sheet: 15 15/16 x 11 11/16in. (40.5 x 29.7cm

Omai, Print made by James Caldwall, 1739–1819, British, after William Hodges, 1744–1797, British, Published by Thomas Cadell the elder, 1742–1802, British, and William Strahan, 1715–1785, British, 1777, Line engraving and

Credulous Lady and Astrologer, Peter Simon, 1750–1810, after John Raphael Smith, 1752–1812, British, 1786, Colored stipple engraving, Sheet: 18 1/4 x 15in. (46.4 x 38.1cm), DON'T USE: 18 1/4in. (46.4cm), DON'T USE: 15in. (38.1cm), and

White Conduit House, Pentonville, unknown artist, nineteenth century, after unknown artist, 1819, Engraving, Sheet: 6 1/8 x 6 13/16in. (15.6 x 17.3cm

Tooting Church, George Cooke, 1781–1834, British, after James Duffield Harding, 1798–1863, British, 1827, Engraving, Sheet: 6 1/2 x 7 1/4in. (16.5 x 18.4cm

William Lord Russel, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1739, Line engraving on medium, slightly textured, cream laid paper

Marriage A-La-Mode, Plate VI: The Death of the Countess, Gerard Jean Baptiste Scotin, 1671–1716, after William Hogarth, 1697–1764, British, 1745, Engraving, Sheet: 15 1/2 x 18 1/4in. (39.4 x 46.4cm

Petrus Snaeyers, Pictor, Andreas Stock, c. 1540–1648, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving and etching on medium, slightly textured, blued

Arundel Castle and Town, Print made by Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 3rd state on moderately thick, slightly textured, cream, wove paper,

Stamford, Lincolnshire, after William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, 2nd state on moderately thick, slightly textued, cream, wove paper, with cream, chine

The Tower of London, Print made by Thomas Tagg, died 1809, British, after Joseph Mallord William Turner, 1775–1851, British, 1794, Etching with line engraving on medium, slightly textured, beige wove paper, Sheet: 3 1/4 × 5 1/2 inches

Frances Isabella Keir Gordon, Peter Simon, 1750–1810, after Sir Joshua Reynolds RA, 1723–1792, British, 1789, Stipple engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 14 1/2 × 10 3/4 inches (36.8 × 27.3

Oak Door Discovered in the Speaker's State Dining Room, Print made by John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1806, Etching and line engraving on slightly textured, moderately thick, white

Young's Night Thoughts, Page 95, 'The goddess bursts in thunder and in flame', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

The Deserted Nest (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 moderately thick, slightly textured, cream wove

Plate VIII: representing the Brown Linen Market at Banbridge, in the County of Downe, The Weavers holding up their Pieces of Linen to View, the Bleachers elevated on Forms examining its Quality, William Hincks, 1752–1797, after William

Columbus and his Son, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, moderately textured, beige wove paper with beige chine-collé,

Frost and Snow (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 moderately thick, slightly textured, cream wove

Tancarville, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof (early

St. Herbert's Chapel, Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, line engraving, 1st state on moderately thick, smooth, cream, wove paper, Sheet: 11 5/8 × 6 7/8 inches (29.5 ×

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, Etching and stipple engraving on moderately thick, moderately

The Grand Canal, Venice, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1838, Etching and line engraving; engraver's proof on thick, moderately textured, cream wove paper with

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

St. Martin's in the Fields, John Boydell, 1720–1804, British, after Thomas Boydell, active 1750–1751, 1751, Engraving, Plate: 11 13/16 x 17 1/8in. (30 x 43.5cm) and Sheet: 12 3/16 x 17 5/16in. (31 x 44cm

For the Sexes: The Gates of Paradise, Plate 17, 'Death's Door', 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),

Caudebec, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving

Portrait of Francis Moore, Print made by William Faithorne, ca. 1620–1691, British, ca. 1663, Etching, stipple engraving and line engraving on medium, slightly textured, brown laid paper, Sheet: 11 1/16 x 6 11/16 inches (28.1 x 17 cm),

Henry Sass, E. Stalker, active 1801–1823, American, after unknown artist, undated, Engraving

Kirkby Lonsdale Churchyard, Charles Heath, 1785–1848, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Etching and line engraving on thick, moderately textured, cream, wove paper, with cream, chine colle,

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

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

Rouen, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Ticket for the Benefit of Mr. Giardini, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1770, Etching and line engraving

Dustanborough Castle, after Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, 3rd state on moderately thick, moderately textured, cream, wove paper, Sheet: 10 13/16 ×

Nobilissimus et Integermus Vir, D. Paulus Halmalius, Senator Ant., Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Etching and

Bedford, Bedfordshire, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, 1st state on thick, smooth, cream, wove paper, with gray chine colle, Sheet: 10 11/16 ×

Marche aux Fleurs and Pont-au-Change, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof, (early

Vesuvius in Eruption, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, with gray,

The Monk, Print made by James Charles Armytage, 1802–1897, British, after Edward Rippingille, 1798–1859, British, Printed by George Virtue, ca. 1820–1908, British, between 1833 and 1853, Line engraving and etching on thick, slightly

Interior of the Late Theatre Royal, Drury Lane, unknown artist, ( Dale ), after unknown artist, ( John Winston ), 1820, Engraving

Sympathy, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1782, Line engraving

Jacob, Judah and Leah, Ancestors 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

Landlord's Family, Charles Knight, 1743–c.1826, British, after Thomas Stothard, 1755–1834, British, 1800, Colored stipple engraving, Sheet: 21 x 16 1/2in. (53.3 x 41.9cm

Chateau d'Arc, Near Dieppe, William Forrest, 1802–1889, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, engraver's proof

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

Plate 12, The Industrious 'Prentice Lord-Mayor of London, Print made by F. F. Walker, active 1805–1836, British, after William Hogarth, 1697–1764, British, 1833, Line engraving on medium, slightly textured, cream wove paper, Sheet: 8

Lady Hamilton as the Spinster, Print made by Thomas Cheesman, 1760–1834/35, British, after George Romney, 1734–1802, British, Published by John Boydell, 1720–1804, British, and Josiah Boydell, 1752–1817, British, 1789, Stipple

Analysis of Beauty, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1808, Engraving

A Perspective View of St. James's Square, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1753, Hand colored engraving

'Cries of London' Plate 1: 'Two bunches a penny primroses, two bunches a penny', Luigi Schiavonetti, 1765–1810, Italian, after Francis Wheatley, 1747–1801, British, 1793, Colored engraving with stipple, DON'T USE: 16 x 12in. (40.6 x

Michel Angelo Buonaroti, Print made by Richard Woodman, 1784–1859, British, Published by Charles Knight, 1743–c.1826, British, 1832, Stipple engraving and etching on medium, slightly textured, cream wove paper

Cape of Good Hope, Print made by Samuel Rawle, 1771–1860, British, Published by John Sewell, active 1735–1802, British, 1800, Line engraving and etching on medium, slightly textured, cream wove paper

Berwick-on-Tweed, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper wuth chine-coll

Trematon Castle, Cornwall, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

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