Images at Librifly

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The Prophet Joel, 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

Lucia Percye, Comes Carlylensis, Marcgravia Doncastrensis Baronissa Hayæ in Salcïa, etca., Pierre de Bailliu the edlder, 1613–after 1660, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21;

An Arabesque, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving and stipple engraving on thick, slightly textured, beige, wove paper, with cream, chine colle, Sheet: 17 3/16 × 11

James Paine, Charles Grignion, 1717–1810, British, after Francis Hayman, 1707/8–1776, British, undated, Etching and line engraving on moderately thick, moderately textured, beige wove paper, Sheet: 5 3/4 x 6 15/16 inches (14.6 x 17.6

Vignette: Angel blowing long Trumpets each with a 'W' on a Flag attached, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Minerva and the Muses, 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, Engraving

South Inside View of the Chapel of St. Thomas within London Bridge, unknown artist, eighteenth century, after George Vertue, 1684–1756, British, 1747, Engraving, Sheet: 9 9/16 x 18 3/16in. (24.3 x 46.2cm

N. W. View of Claphan Church, Bartholomew Howlett, 1767–1827, British, after unknown artist, ( Miss Bellamy ), after George Samuel, active 1785–died 1823, British, 1812, Engraving, Sheet: 8 1/4 x 10 1/4in. (21 x 26cm

A Geometrical View of the East End of St. Stephan's Chapel, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1807, Engraving

The Half-Way House to Stepney, William Henry Toms, ca. 1700–ca. 1750, British, J. Armstrong, active ca. 1738, British, undated, Engraving

Holy Island, William Tombleson, ca.1795–1835, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving and etching, 3rd state on moderatey thick, slightly textured, cream, wove paper, Sheet: 10 3/4 × 14

The Southwest Corner of Smithfield, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1807, Engraving

King on His Throne in the House of Lords, James Fittler, 1758–1835, British, after Edward Pugh, 1763–1813, British, ca. 1820, Engraving, Sheet: 6 5/8 x 7 15/16in. (16.8 x 20.2cm

Trinity Hospital, Deptford, William Angus, 1752–1821, British, after Charles Tomkins, 1757–1823, British, 1801, Engraving

Frai. Lelio Blancatcio, Commendat. Merlit March, Mont. Silvan. Aconsil. Collater. Neapol. Cath. Ma. a. Cons. Stat et. Suprem. Campi, Marschalc., Nicolaes Lauwers, 1620–1652, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish,

Buckingham House, St. James' Park, Print made by John Burnet, 1784–1868, British, after John Burnet, 1784–1868, British, Published by Vernor & Hood, active 1795–1807, British, 1810, Etching and line engraving on moderately thick,

Aosta (vignette), Print made by Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with

Ashkoko, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving, hand colored

The Acropolis of Athens, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on moderately thick, slightly textured, beige, wove paper, with gray,

Aloysis Pisani Eques et Diri Marci Prourator, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Carlo Pellegrini, 1839–1889, Italian, 1793, Engraving

Pamela pointing an error in a direction, Vide, vol. 6, letter 30, page 200, unknown artist, ( W. Hawkins ), after unknown artist, ( R. Courbould ), 1803, Engraving, Sheet: 3 3/16 x 3in. (8.1 x 7.6cm

West Window of the Chapel, New College Oxford: The Virtues - Charity, George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1781, Stipple engraving on moderately thick, moderately textured, cream, laid

Dumourier's Army Driven from the Siege of Williamstadt, Print made by J. Pass, active 1796–1800, 1793, Line engraving on medium, slightly textured, cream wove paper

Noon, 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, hand colored with watercolor on moderately thick,

Brienne, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, touched with graphite (Engraver's Proof

A View of St. James's Palace Pall Mall, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1753, Hand colored engraving

La Riccia, John Pye, 1782–1874, British, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1819, Etching and engraving on moderately thick, slightly textured, cream, wove paper,

Althorp Castle, Northamptonshire, James Redway, active 1827–1838, after William Daniell, 1769–1837, British, undated, Line engraving and etching on moderately thick, slightly textured, cream wove paper with cream chine collé, Sheet: 8

Foot Soldier, Francis David Soiron, Born 1764, after Henry William Bunbury, 1750–1811, British, c. 1791, Stipple engraving

Victor of the Glen, Henry Bryan Hall, 1808–1884, American, after Robert Cleminson, active 1865–1868, no date, Engraving, Sheet: 23 1/4 x 30 7/8in. (59.1 x 78.4cm

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

Little Red Riding Hood, Print made by imitator of George Baxter, 1804–1867, British, Printed by Le Blond & Co., after 1856, Aquatint and stipple engraving; color woodcut done by Le Blond & Co. on moderately thick, slightly textured, cream

Trade Sheet for: Richard Hand, The Oldest Original Chelsey Bunn Baker at the King's Arms Chelsey, William Hogarth, 1697–1764, British, 1718, Line engraving (reprint), Plate: 7 x 5 1/8 inches (17.8 x 13 cm) and Sheet: 8 3/4 x 6 1/4in. (22.2 x

Ehrenbreitstein, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, engraver's proof on thick, moderately textured, beige, wove paper, with gray, chine colle, Sheet: 11

St. Anne's Hill, No. II, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, moderately textured, cream, wove paper, Sheet: 17 1/2 ×

Sir Joseph Banks, 1st Baronet, Niccoló Schiavonetti, 1771–1813, Italian, after Thomas Phillips, 1770–1845, British, 1812, Line engraving on medum, slightly textured, cream, laid paper, with cream chine colle, Sheet: 20 1/8 × 15

Meleager and Atalanta, William Woollett, 1735–1785, British, Benjamin Thomas Pouncey, active 1772–1799, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1779, Line engraving and etching on

Part of the Bridge at Blackfriars, Edward Rooker, 1724–1774, British, after Edward Rooker, 1724–1774, British, 1777, Engraving, Sheet: 17 3/8 x 22 7/8in. (44.1 x 58.1cm

Gerardus Honthorst, Comitis Pictor Humanarum Figurarum Majoru, 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

Wm. Shakespear at the Age of 40, John Hall, 1739–1797, British, 1772-1773, Etching and line engraving on laid paper, Image: 5 x 2 7/8in. (12.7 x 7.3cm), Sheet: 9 1/8 x 6 1/16in. (23.2 x 15.4cm), and Plate: 7 1/8 x 4 5/8in. (18.1 x 11.7cm

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

The Bridge of Sighs, Venice, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on thick, moderately textured, beige, wove paper, with gray

A Rake's Progress, Plate VIII: In Bedlam, William Hogarth, 1697–1764, British, 1735, Line engraving, Sheet: 12 3/8 x 15 1/8in. (31.4 x 38.4cm

Chateau de la Mailleraie, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Albert, Dux Fritland. Com. Wallest, Etc., 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, Line engraving and stipple engraving on

Stadthaus (Guildhall), unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

Aldgate House, Bethnall Green, Alfred William Warren, active 1791–1809, after Jacob C. Schnebbelie, 1760–1792, British, 1808, Engraving

A View of Somerset House with St. Mary's Church, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Venerable Remains of London Wall, unknown artist, after unknown artist, 1800, Engraving

Edinburgh from St. Anthony's Chapel, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, engraver's proof

Town Hall, Bruges, Print made by R. Wrightson, active ca. 19th century, British, after Jules Alexandre Monthelier, 1804–1883, French, Published by Fisher, Son & Co., active 1821–1848, British, ca. 1841, Etching and line engraving on

Interior of Waltham Abbey Church, Outer Suburb - East, John Greig, active 1800–1853, British, after Frederick Nash, 1782–1856, British, 1804, Engraving

William Shakspeare, Thomas Trotter, ca. 1750–1803, British, 1794, Line engraving on wove paper, Sheet: 9 1/4 x 5 3/8in. (23.5 x 13.7cm

Designs for Blackfriars Bridge, Benjamin Cole, 1697–1783, British, after Edward Oakley, active 1720–1756, 1756, Engraving, Sheet: 14 1/2 x 17 1/4in. (36.8 x 43.8cm

Sister Anna's Probation, Sir John Everett Millais, 1829–1896, British, 1862, Wood engraving, Sheet: 9 1/8 x 16 1/4in. (23.2 x 41.3cm

Girl Writing, 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 thick, slightly

The Barbadoes Mulatto Girl, Print made by Agostino Brunias, 1728–1796, Italian, active in Britain (1758–70; 1777-80s), after Agostino Brunias, 1728–1796, Italian, active in Britain (1758–70; 1777-80s), 1779, Stipple engraving and

The Right Honourable Jane Elizabeth Viscountess Andover, Print made by Charles Wilkin, 1750–1814, British, after John Hoppner, 1758–1810, British, 1799, Stipple engraving (proof without letters) on moderately thick, slightly textured,

Chateau of Dieppe, Print made by James Lewis, after Clarkson Stanfield, 1793–1867, British, Published by Longman, active 1804–1914, British, 1834, Line engraving on medium, slightly textured, cream wove paper

Illustrations to Samuel Richardson's 'The Life of Pamela', illustrated by Joseph Highmore, Guillaume Philippe Benoist, 1725–ca. 1770, French, after Joseph Highmore, 1692–1780, British, 1762, Engraving, Plate: 11 3/4 x 14 13/16in. (29.8

Clarissimus Erycius Puteanus Historiographus, Regius Professor Consiliarius Etc., 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,

The Mosque of Santa Sophia, from the Gallery, Print made by John Le Keux, 1783–1846, British, after Thomas Allom, 1804–1872, British, undated, Line engraving on medium, slightly textured, cream wove paper

The Royal Hospital at Chelsea, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 6 5/8 x 9 5/8in. (16.8 x 24.4cm

The Bay of Baiae - Apollo and the Sibyl, Print made by unknown artist, nineteenth century, after print by Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, undated, Line engraving

St. Anne's Hill, No. I, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Open etching and line engraving on thick, slightly textured, cream, wove paper, with cream, chine

Colchester, Essex, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, engraver's proof (touched), Image: 6 1/2 x 9 1/16in. (16.5 x 23cm

View of Watermans Hall, Cold Harbour, Upper Thames Street, Bartholomew Howlett, 1767–1827, British, after George Shepherd, active 1782–1830, and Wenceslaus Hollar, 1607–1677, Bohemian, 1820, Engraving

Christmas, 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 paper, Sheet: 4 9/16

The Forum Romanum, George Hollis, 1792–1842, British, And James Mitan, 1776–1822, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and engraving on moderately thick, slighlty textured, cream,

Marine Study No. 1, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Willem van de Velde the Elder, (?), ca. 1611–1693, Dutch, active in Britain (from 1672), after Willem van de Velde the Younger,

Venus finding Adonis asleep, Sed placidam Pueri metuens turbare quietem, Fixit vicinis Basia mille rosis, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Hamilton Mortimer, 1740–1779, British,

Cornelius Vander Geest, Artis Pictoriæ Amator Antuerpiæ, 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

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,

Pope's Villa, Print made by John Pye, 1782–1874, British, Figures by Charles Heath, 1785–1848, British, after Joseph Mallord William Turner, 1775–1851, British, 1811, Etching and line engraving on medium, slightly textured, cream

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

Joseph Edmondson, Mowbray Herald Extra, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1777, Engraving

A Chorus of Singers, Rehearsal of the Oratorio of Judith, 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

Prudence endeavoring to Retain Beauty from Following the Insinuation of Love, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain

Garrick and His Wife, Print made by Herbert Bourne, ca. 1820–after 1885, British, after William Hogarth, 1697–1764, British, Published by Virtue, active 1820s–1908, British, between 1840 and 1870, Etching and stipple engraving on

Quilleboeuf, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving and etching, engraver's proof

Christ the Judge and Saints John the Baptist and Abel, Conrad Martin Metz, 1749–1827, German, after Michelangelo, 1474/1475–1564, Italian, 1801, Stipple engraving on moderatley thick, slightly textured, cream, wove paper, Sheet: 24

Bacchus and Ariadne, Print made by William Henry Worthington, ca. 1790–active 1839, British, after Titian, 1488/90–1576, Italian, Published by John Major, active 1828–1833, British, 1832, Line engraving on medium, slightly textured,

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

A Connoiseur Admiring a Dark Nigh Piece, Published by Mary Darly, active 1762 –1772, British, Published by Matthew Darly, active 1754–1778, 1771, Etching and line engraving on medium, slightly textured, cream wove paper

Chiswick, Print made by George Cooke, 1781–1834, British, after William Havell, 1782–1857, British, active in India (1820–26), Published by Longman, active 1804–1914, British, 1834, Etching and line engraving on medium, slightly

A View of the Town and Harbour of Montego Bay, in the Parish of St. James, Jamaica, taken from the Road leading to St. Ann's, unknown artist, eighteenth century, after drawings by John Spilsbury, 1730–1795, 1770, Engraving, Sheet: 17 x 21

Henry IV, Part I, Act II, Scene II: ' The Road by Gadshill - Prince Henry, Poins, Peto, Falstaff, etc.', Samuel Middiman, ca. 1750–1831, British, after Robert Smirke, 1752–1845, British, and Joseph Farington, 1747–1821, British,

Hohenlinden, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof, touched

Peter Roestraten, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 x 9 1/4 inches (29.8 x 23.5 cm), Plate: 7 1/4 x 5 1/2 inches (18.4 x 14 cm),

Henry VIII, Act V, Scene IV, The Palace, Joseph Collyer, 1748–1827, British, after Matthew William Peters, 1742–1814, British, 1803, Engraving, Sheet: 17 5/16 x 23 1/16in. (44 x 58.6cm

Robert Bertie, First Earl of Lindsey, Jacobus Houbraken, 1698–1780, Dutch, 1742, Engraving; Proof before letters, with engraver's name and date only, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm), DON'T USE: 18 1/2in. (47cm), and DON'T USE:

Montjen, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving

Commodore Sir Nathaniel Dance, Print made by Charles Knight, 1743–c.1826, British, Printed by Edward Orme, 1775–1848, British, Published by Edward Orme, 1775–1848, British, 1804, Stipple engraving and aquatint with hand coloring in

Caerlaverock Castle, Print made by Edward Francis Finden, 1791–1857, British, after David Roberts, 1796–1864, British, 1832, Etching and line engraving on medium, slightly textured, cream wove paper

Amboise, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on medium, slightly textured, cream, wove paper, Sheet: 6 13/16 × 10 9/16 inches (17.3 × 26.8 cm), Plate: 5 7/8 ×

A Curious House at Stepney, unknown artist, after unknown artist, 1791, Engraving

The Temptation on the Mountain (Vignette), John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving (First State

Illustrations for 'Gil Blas', plate III, Print made by Charles Grignion, 1717–1810, British, after Thomas Stothard, 1755–1834, British, 1781, Line engraving on medium, slightly textured, cream wove paper

Kemble, William Sharp, 1749–1824, British, after Sir Martin Archer Shee, 1769–1850, Irish, 1803, Engraving, Sheet: 9 x 12in. (22.9 x 30.5cm

Cornwall Terrace, Charles Heath, 1785–1848, British, after William Westall, 1781–1850, British, 1825, Engraving

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