Images at Librifly

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St. Pierre's Cottage, 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, with cream, chine

Fort St. George, Print made by Gerard van der Gucht, 1696–1776, British, after Samuel Scott, 1701/2–1772, British, after George Lambert, 1700–1765, British, undated, Line engraving with hand coloring in watercolor on medium,

Mrs. Abington as Thalia, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, 1783, Engraving, Sheet: 10 7/8 x 8 1/2 inches (27.7 x 21.6 cm), actress, performance,

House Occupied by the Royal Society, Crane Court, Fleet Street, Charles John Smith, 1803–1838, British, after unknown artist, undated, Engraving

Painting in Fresco in the Sepulchres of Thebes, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

The Elevation and Plan of the Unfortunate Mr. Blight's House, Rotherhithe, unknown artist, after unknown artist, 1806, Engraving on smooth, medium, white wove paper, Sheet: 8 3/16 × 5 1/8 inches (20.8 × 13 cm), architectural subject

Chelsea - Albert Bridge, Thomas Abiel Prior, 1809–1886, British, after unknown artist, undated, Engraving, Sheet: 11 5/8 x 19 9/16in. (29.5 x 49.7cm

Hotel de Ville and Pont d'Arcole, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving (First Published State

Vue de Londres sur du cote du Sud, Balthaazar F. Leizelt, active 1750–1800, German, after unknown artist, undated, Hand colored engraving

Hardraw Fall, Print engraved by John Pye, 1782–1874, British, and etched by Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, Published by Longman, Hurst, Rees, Orme & Brown, active

The Elevation of a New House Intended for his Grace ye Duke of Chandos, in Mary Bone Fields, Henry Hulsberg, died 1729, Netherlandish, active in London, after John Price, 18th century, British, 1720, Engraving

Bacharach on the Rhine, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 3rd state on medium, slightly textured, beige, wove paper, with cream, chine colle,

Lunar Planisphere, Hypothetical Oblique Light, Print made by John Russell, 1745–1806, British, 1806, Stipple and line engraving on moderately thick, slightly textured, cream wove paper, Sheet: 17 × 16 3/8 inches (43.2 × 41.6 cm) and

The College of Arms or Herald's Office, Thomas White, 1736–1811, And W. Sherwin, active 1768, after Thomas Malton the Younger, 1748–1804, British, OR after Thomas Malton, 1726–1801, British, 1768, Engraving

The Acropolis of Athens, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Etching and engraving on medium, slightly textured, beige, wove paper, Sheet: 6 1/16 × 8 11/16 inches (15.4 ×

Maria dei Gratia Princeps, Comes Arenbergiæ, Princeps Barbansonia etca., Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1645, Line engraving and

Pax Artium Nutrix, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1787, Engraving

Illustration for 'Mickle', Print made by John Samuel Agar, ca. 1773–1858, British, after John Thurston, 1744–1822, British, 1808, Line engraving on medium, slightly textured, cream wove paper

Herstmonceux Castle for the history and description of the Sussex Coast, Charles John Smith, 1803–1838, British, after unknown artist, ( Charles Scott ), undated, Engraving, with graphite on smooth, medium, beige wove paper, Sheet: 9 ×

Troilus and Crssida, Act 3, Scene II, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), And X Liparoli, active 1790s, after Henry Tresham, 1751–1814, British, 1794, Engraving

Shooting, Plate IV, William Woollett, 1735–1785, British, after George Stubbs, 1724–1806, British, 1771, Engraving with etching, Sheet: 17 1/2 x 21 15/16in. (44.4 x 55.7cm) and Image: 15 3/8 x 20 13/16in. (39.1 x 52.9cm

Charlotte Sophia (née Leveson-Gower), Somerset, Duchess of Beaufort, Anthony Cardon, 1772–1813, Flemish, after Anne Mee, ca. 1760–1851, British, 1812, Stipple engraving on thick, slightly textured, cream, wove paper, with chine

At the Minerva 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, 1730–1807,

Clairmont, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof (early

Lillebourne, Chateau and Tower, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and line-engraving, engraver's proof

The Hon. Miss Bingham, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, after 1786, Mezzotint, etching, and stipple engraving on medium,

The Happy Peasants, James Mason, 1710–1783, British, after painting Herman van Swanevelt, c.1600–1655, Dutch, after drawing Joseph Farington, 1747–1821, British, 1775, Engraving

Earth, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1803, Stipple engraving on medium, slightly

First Stage of Cruelty, Print made by T. E. Nicholson, active early 19th century, British, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833, Etching and line engraving on medium,

Corinth from the Acropolis, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on moderately thick, moderately textured, beige, wove paper,

The Morning of Life, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), 1860-1861, Etching, engraving and drypoint, with plate tone on thick, smooth, cream wove paper, Sheet: 8 1/2 x 11 3/4 inches (21.6 x 29.8

The Bolgna Sausages or Opposition Flux'd, James Gillray, 1757–1815, British, 1788, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Line-Fishing off Hastings, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Circi Flaminii, Print made by Bolognino Zaltieri, active 1555–1576, Italian, after Nicolas Beatrizet, 1507 or 1515–ca. 1565, French, after Pirro Ligorio, ca. 1500–1583, after Pirro Ligorio, ca. 1500–1583, Published by Donato

Ceyx and Alcyone, William Woollett, 1735–1785, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1769, Line engraving and etching on moderately thick, slightly textured, cream laid paper, Sheet: 18 x

Benjamin West, Esqr., Historical Painer to His Majesty, Caroline Watson, 1760–1814, British, after Gabriel Stuart, active 1780s–1790s, 1786, Stipple engraving, Sheet: 8 5/8 x 6 3/8in. (21.9 x 16.2cm

Sir Francis Bourgeois, R. A., William Ridley, 1764–1838, British, Timothy Collopy, Active 1777–Died 1810, British, 1804, Engraving

King Richard the Second, Act V, Scene II (The Entrance of King Richard & Bolingbroke into London), Print made by Robert Thew, 1758–1802, British, after James Northcote, 1746–1831, British, Published by John Boydell, 1720–1804,

The South Prospect of the Church of Sepulchre, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1737, Engraving, Sheet: 10 3/4 x 12in. (27.3 x 30.5cm

Man with Flaming Torch in Four Horse Chariot, Representing Sun, Apollo, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

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

St. Mary, Rotherhithe, John Coney, 1786–1833, British, after John Coney, 1786–1833, British, 1818, Engraving, Sheet: 11 3/4 x 7 15/16in. (29.8 x 20.2cm

Derby Day, Auguste Blanchard, 1819–1898, French, after William Powell Frith, 1819–1909, British, 1858, Engraving, Sheet: 19 7/8 x 43 7/8in. (50.5 x 111.5cm

Nottingham, Nottinghamshire, William John Cooke, 1797–1865, Irish, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

North Front of Bedford House, Bloomsbury Square, Bartholomew Howlett, 1767–1827, British, after unknown artist, 1822, Engraving on slightly textured, medium, white wove paper, Sheet: 11 9/16 × 14 inches (29.4 × 35.6 cm), Plate: 10 1/2

Humours of an Election Entertainment, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1809, Etching and line engraving on medium, slightly

Marriage à la Mode, Plate 6, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1745, Etching with line engraving, Sheet: 15 1/4 × 18 1/2 inches (38.7 × 47 cm

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

Ticket for the Benefit of Madame Banti, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Edward Francis Burney, 1760–1848, British, 1795, Etching and line engraving on moderately thick, slightly

Pamela with the Children and Miss Goodwin to whome she is telling her nursery tales. This last Piece leaves her in full possession of the peaceable fruits of her Virtue long after having surmounted all the difficulties it had been exposed to, Print

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

Chain Bridge over the River Trees, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

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

Valombre, 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, with gray, chine colle, Sheet: 15

A View of the Royal Exchange, London, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1754, Engraving

The Little Bell Breaking up at Battersea, William Bernard Cooke, 1778–1855, British, after François Louis Thomas Francia, 1772–1839, French, active in Britain, 1819, Engraving on slightly textured, medium, cream wove paper, Sheet: 11

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

Interior of St. Paul's on the Day of Solemn Thanksgiving for the Recovery of His Majesty, Robert Pollard, 1755–1838, British, 1790, Aquatint, etching, and engraving on thick, slightly textured, cream, wove paper, Sheet: 18 × 27 3/8

Henry IV, Part I, Act II, Scene IV: ' The Boar's Head', Robert Thew, 1758–1802, British, after Robert Smirke, 1752–1845, British, 1803, Engraving, Sheet: 17 3/16 x 23 3/8in. (43.7 x 59.4cm

The South East Prospect of Westminster, Thomas Bowles, ca. 1712–died 1753, British, after unknown artist, ( T.B. and T.M.), 1750, Engraving

Buckingham House in St. James's Park, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving, Sheet: 8 9/16 x 11 11/16in. (21.7 x 29.7cm), DON'T USE: 8 9/16in. (21.7cm), DON'T USE: 11 11/16in. (29.7cm), and

Jeremiah Meyer, D. P. Pariset, born 1740, active in Britain from 1767, French, after Pierre-Etienne Falconet, 1741–1791, French, 1769, Stipple engraving

3 Characters, 4 Caricaturas, 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,

Elizabeth Ann Sheridan (née Linley) as St. Cecilia, Thomas Watson, 1743–1781, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1779, Stipple engraving on moderately thick, slightly textured, beige, laid paper, Sheet: 16

A View near New Cross Deptford in Kent, unknown artist, after unknown artist, 1770, Hand colored engraving

The Castle Rhine, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof

Negropont, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving on medium slightly textured, cream, wove paper, Sheet: 6 1/8 × 8 11/16 inches (15.6 × 22.1 cm)

St. Pierre's Cottage, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, with scraping out and touched with graphite (Engraver's Proof b) on thick, slightly

Newark Castle (vignette), Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, second state on medium, slightly textured, cream wove paper

Dr. Johnson, Philip Audinet, 1766–1837, British, after unknown artist, undated, Engraving, Sheet: 6 x 3 3/4in. (15.2 x 9.5cm

Rochester, Print made by James Walker, 1748–1808, British, Print made by James S. Storer, 1771–1853, British, after Joseph Mallord William Turner, 1775–1851, British, 1794, Line engraving on medium, slighty textured, cream wove

Traitor's Gate, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof (touched

Richmond, Yorkshire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching, engraver's proof on moderately thick, moderately textured, cream, laid paper, Sheet:

The Marriage Ceremony performed in Mr. B.'s own Chappel by Mr. Williams, Mr. Peters giving her away, Mrs. Jewkes waits behind Pamela and the Maid keeps the door, Print made by Guillaume Philippe Benoist, 1725–ca. 1770, French, after Joseph

Antony and Cleopatra, Act I, Scene II, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), And X Liparoli, active 1790s, after Henry Tresham, 1751–1814, British, 1794, Engraving

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,

Cascade of Terni, John Landseer, 1769–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, laid paper, Sheet:

No. 5 Prints / of the / Improved British Cattle: Holderness Cow / Taken from His Majesty's Stock at Windsor, William Ward, 1766–1826, British, after George Garrard, 1760–1826, British, 1799-1806, Engraving, Sheet: 10 x 15in. (25.4 x

An Inside View of St. Pauls in London, John S. Muller, ca. 1715–1792, German, active in Britain, after unknown artist, 1753, Hand colored engraving

Fallstaff Playing the Prince, The Prince Playing the King, Print made by Thomas Macklin, active 1779–1793, British, after Henry William Bunbury, 1750–1811, British, published by Thomas Macklin, Poets Gallery, Fleet Street, active

Clapham, Surrey, unknown artist, nineteenth century, after unknown artist, 1809, Engraving, Sheet: 6 1/4 x 8in. (15.9 x 20.3cm

Distant View of Chester, 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

Norham Castle - Moonrise, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving

Mrs. Wilbraham, Print made by Thomas Watson, 1743–1781, British, after Daniel Gardner, 1750–1805, British, 1780, Stipple engraving on medium, slightly textured, cream, laid paper, Sheet: 10 3/4 × 8 1/16 inches (27.3 × 20.5 cm) and

Portrait of Lt. J. G. Riddell, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Downman, 1750–1824, British, 1784, Stipple engraving and etching, in red ink on medium, slightly

Poole, Dorsetshire, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814, Line engraving and etching, second published state on moderately thick, slightly textured, cream, wove paper, with

Babylon, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Pamela Swooning, after having discovered Mr. B. in the closet, He (frighted) endeavouring to recover her, Mrs. Jervis wringing her hands, and screaming, Print made by Guillaume Philippe Benoist, 1725–ca. 1770, French, after Joseph Highmore,

Hare Hunting: Francis Duckenfield Astley Esqr. and his Harriers, Richard Woodman, 1784–1859, British, after Benjamin Marshall, 1768–1835, British, 1810 (re-issue of 1809), Color printed stipple engraving, Sheet: 21 5/8 x 25 1/8in. (54.9

Section of the Canja, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Free Natives of Dominica, 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), 1780, Stipple engraving and

Vernon, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof (early

Young's Night Thoughts, Page 57, 'Trembling Each Gulp, Lest Death Should Snatch the Bowl', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream

View of the Church of St. Paneras in the County of Middlesex, unknown artist, eighteenth century, after unknown artist, undated, Engraving

This View of the Right Honorable the Earl of Chesterfield's House near Hyde Park, John S. Muller, ca. 1715–1792, German, active in Britain, after Edward Eyre, active 1771–1792, British, 1750, Hand colored engraving

Land's End, Cornwall, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and line engraving on medium, moderately textured, cream, wove paper, Sheet: 8 3/8 × 11 5/8 inches

Benjamin West, late President of the Royal Academy, James Thomson, 1789–1850, British, after James Thomson, 1789–1850, British, 1820, Engraving

Representation of the Glarious Defeat of the French Fleet off Belleisle on the 20 November 1759, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Richard Paton, 1717–1791, British, 1759, Engraving

Orleans, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Fruit Piece, Print made by Richard Earlom, 1743–1822, British, drawn by Joseph Farington, 1747–1821, British, after Jan van Huysum, 1682–1749, Dutch, Published by John Boydell, 1720–1804, British, 1781, Etching and stipple

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