Images at Librifly

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Havre, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Chateau de Tancarville with Town of Quilleboeuf, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Il Castello che al Presente si Dice Sant'Angelo Anticamente Fu il Sepolcro de Adriano, Print made by unknown artist, sixteenth century, Published by Giovanni Orlandi, active 1590–1640, Italian, Published by Claude Duchet, died ca. 1585,

For Children. The Gates of Paradise, Plate 6, 'Air', Print made by William Blake, 1757–1827, British, 1793, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 5 1/2 inches (14 cm), Sheet: 5 3/8 x

E. M. Ward, John T. Smyth, 1819?–1851, British, after unknown artist, undated, Engraving

Swiss Costumes, Bradshaw & Blacklock, active ca.1850, British, after 1850, Etching and stipple engraving, with color woodcut on cream card mounted in beige card, Sheet: 5 1/4 x 7 15/16 inches (13.3 x 20.2 cm) and Image: 2 1/8 x 1 inches (5.4 x

Plan of the Tower of London..1681/1689, James Basire, 1769–1822, British, after unknown artist, 1815, Engraving

Rouen, from la Haute Vieille Tour, Print made by Edward Francis Finden, 1791–1857, British, after Robert Batty, 1789–1848, British, Published by Rodwell & Martin, active 1819–1835, British, 1820, Line engraving on medium, slightly

St. Mawes, Cornwall, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 10 1/2 × 14 3/4 inches

Entrance to the Port of Marseilles, Print made by Arthur Willmore, 1814–1888, British, after Thomas Allom, 1804–1872, British, undated, Line engraving on medium, slightly textured, cream wove paper

The Rape of Cephalus with Aurora, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Pietro da Cortona, 1596–1669, Italian, 1776, Engraving

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

The Inside of the Parish Church of St. Stephen Walbrook, F. C. Pack, 1759–1840, after unknown artist, undated, Engraving

The Boy of Egremond, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with gray, chine colle, Sheet: 17 3/8 ×

Bolton Abbey, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof (early) on thick, slightly textured, cream, wove paper, with cream, chine colle,

William Shakespeare, Jacobus Houbraken, 1698–1780, Dutch, 1747, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

Copyright - Act of Parliament, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1767, Letterpress with engraving

Loch Achray (Vignette), Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1853 reprint, Line engraving on medium, slightly textured, cream wove paper

Crowhurst, Sussex, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1816, Etching and line engraving; first published state on medium, slightly textured, cream wove

Hougoment, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof

The Coming-on of the Monsoons; - or - The Retreat from Seringapatam, James Gillray, 1757–1815, British, 1791, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Greenwich Hospital, William Walker, 1791–1867, British, and James Walker, 1748–1808, British, after Francis Nicholson, 1753–1844, British, 1792, Engraving

A View of Westminster Bridge, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1753, Hand colored engraving, Sheet: 12 3/4 x 19 3/8in. (32.4 x 49.2cm

Coronation of James I. Westminster Abbey, unknown artist, seventeenth century, after unknown artist, 1603, Engraving

Loch Achray, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

A Rake's Progress, Plate VI: He Gambles, William Hogarth, 1697–1764, British, 1735, Engraving, Sheet: 12 1/4 x 15 1/8in. (31.1 x 38.4cm

Leicester Abbey, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving and etching, 2nd state on moderately thick, sligltly textured, cream, wove paper, with cream, chine colle,

He was Wounded for our Transgressions, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Guido Reni, Italian, 1575–1642, Italian, 1802, Engraving

Untitled (duplicate of B1977.14.11857), James Mason, 1710–1783, British, after George Lambert, 1700–1765, British, 1862, Engraving, cattle, cottage, country house, genre subject, landscape

Chairing the Member, 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,

Columbus Setting Sail, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on moderately thick, slightly textured, beige, wove paper, with gray

A View near Greenwich in Kent, unknown artist, after unknown artist, 1771, Hand colored engraving

Loch Coriskin, Print made by Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Ascension of Madame Sage, Chevalier Biggin and Captain Vincent Lunardi in a Balloon, June 20, 1785, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Francis Rigaud, 1742–1810, French,

Mr. Kemble in the Character of King Richard the Third - 'Richard III, ' Act V, Scene V, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1789, Engraving and stipple

Vol. 6, Plate XXX: The Story, as it is Presumed, of Joab and Abner. The Martyrdom of the Mother and her Seven Sons, and the Sacrifice of Antiochus., Print made by James Basire, 1769–1822, British, after Charles Alfred Stothard,

Bargate, Southampton, T. S. Seed, after unknown artist, (Taylor, S.), 1814, Hand colored engraving, Sheet: 14 3/4 x 12 3/8in. (37.5 x 31.4cm

The Thames at Mortlake, Print made by William John Cooke, 1797–1865, Irish, after Joseph Mallord William Turner, 1775–1851, British, 1836 to 1838, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with

Alnwick Castle, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 9/16 ×

Junction of the Greta and Tees at Rokeby, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1819, Etching and line engraving on medium, slightly textured, cream, laid paper, Sheet: 10

Exhibition Somerset House Tom and Bob, Henry Thomas Alken, 1785–1851, British, after Henry Thomas Alken, 1785–1851, British, 1821, Hand colored engraving, Sheet: 4 3/4 x 7in. (12.1 x 17.8cm

A set of seven, untitled, each dedicated: To the Right Hon'ble. Thomas Lord Viscount Weymouth...from the Original Painting in Long Leat Hall. Centre, a grey held by a hunt servant, with other horses and hounds...., L. Truchy, 1721–1764,

View of the Architectural Improvements, in the Vicinity of the Bank, and the Mansion House. The proposed site for the Wellington Monument., Thomas Higham, 1796–1844, British, after Thomas Higham, 1796–1844, British, 1830, Line

Thomas Wolsey, Pieter S. van der Gunst, 1659–c. 1724, after Adriaan van der Werff, 1659–1722, Dutch, undated, Etching and engraving on medium, slightly textured, cream, laid paper, Sheet: 13 9/16 × 8 inches (34.4 × 20.3 cm), Plate:

Sir John Borlase Warren, James Stow, ca. 1770–after 1820, British, after Samuel Drummond, 1765–1844, British, 1799, Stipple engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 25 15/16 × 18 5/16 inches (65.9

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

Newbury from Speen Hill, William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, 1803-1810, Line engraving, published state (India

The Benevolent Heir or The Tenant Restored to his Family, Haveill Gillbank, 18th–19th centuries, British, after William Redmore Bigg, 1755–1828, British, 1803, Engraving, mixed method, Sheet: 18 1/8 x 24in. (46 x 61cm), aprons, bird

D. M. S. P. Vibi P. F. Mariani, Print made by unknown artist, sixteenth century, Published by Antonio Lafreri, 1512–1577, French, 1551, Line engraving on medium, slightly textured, cream laid paper

A Perspective View of Lincoln's Inn, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1741, Engraving

Gasport, Entrance to Portsmouth Harbor, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Etching and engraving, first published state

Miss Croker, Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, Published by M. Colnaghi, established 1760, active ca. 1785–1911, Italian, active in Britain, 1828, Mezzotint, line

Female Curiosity, Printed by Thomas Ryder, 1746–1810, Irish, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly textured,

Westminster Abbey, the North Transept, unknown artist, ( C. Armstrong ), after John Preston Neale, 1771/80–1847, British, 1818, Engraving

Young's Night Thoughts, Page 41, 'One radiant Mark, the Deathbed of the Just', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Frontispiece to Hogarth's Works, The Milk Maid, after William Hogarth, 1697–1764, British, Print made by The London Printing and Publishing Company, 1850, Line engraving and stipple engraving on medium, slightly textured, cream wove paper

Scenographia Americana: A View of the City of the Havana, taken from the Road near Colonel Howe's Battery, Edward Rooker, 1724–1774, British, AND Paul Sandby RA, 1731–1809, British, after drawings by Engineer Durnford, 18th century,

View of Ringfend, Irifh Town, Pool Beg, Clontarf, Irelands-eye, Dublin Bay, Ec. in Ireland, Published by Alexander Hogg, active 1778–1824, British, ca. 1780, Etching and line engraving on medium, slightly textured, cream laid paper

The Andes Coast (Vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Engraving

Melrose, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Set of four: 2. Duck Shooting, T. Simpson, active 1790–1814, after George Morland, 1763–1804, British, 1790, Color printed and hand colored stipple engraving, Sheet: 14 1/4 x 17in. (36.2 x 43.2cm

Talman, Sir Ralph Cole and Marco Ricci, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream laid paper, Sheet: 8 7/8 x 7 inches (22.5 x 17.8 cm), Plate: 7 1/4 x 5 3/8

View of the Monument, Philip Audinet, 1766–1837, British, after Edward Dayes, 1763–1804, British, 1796, Engraving

A North West View of St. Paul's Cathedral, London, John S. Muller, ca. 1715–1792, German, active in Britain, after unknown artist, 1753, Engraving, Sheet: 10 1/4 x 15 7/8in. (26 x 40.3cm

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; engraver's proof (a) on thick, slightly textured, cream wove

Plate 35 (page 75): 'The Sun beheld it -- No, the shocking Scene Drove back his chariot', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

William Eden, 1st Baron Auckland, Charles Picart, c.1780–1837, British, after Henry Edridge, 1769–1821, British, 1810, Stipple engraving on moderately thick, slightlly textured, cream, wove paper, Sheet: 12 1/8 × 8 11/16 inches

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

The Polling, Plate III, William Hogarth, 1697–1764, British, And François M. la Cave, active 1726–1766, after William Hogarth, 1697–1764, British, 1758, Engraving, Sheet: 17 3/8 x 22 1/8in. (44.1 x 56.2cm

A Tempest-Voyage of Columbus, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, 1st state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 5/8 × 6

Holland House in Middlesex, the seat of Lord Holland, William Angus, 1752–1821, British, after George Samuel, active 1785–died 1823, British, 1789, Engraving, letterpress

William Esdaile, Print made by Robert Graves, 1798–1873, British, after George Sharples, 1787–1849, 1826, Line engraving and etching on moderately thick, slightly textured, cream wove paper with cream chine-collé, Sheet: 20 1/4 × 16

Fécamp, Print made by John Cousen, 1804–1880, British, after Clarkson Stanfield, 1793–1867, British, Published by Longman, active 1804–1914, British, 1834, Line engraving on medium, slightly textured, cream wove paper

Doll, A Celebrated Pointer, after James Barenger, 1780–after 1831, British, 1818, Etching and line engraving on medium, slightly textured, cream wove paper

...tu Sola animos, Mentemque peruris Gloria, te viriden violet, immunemque Senectae, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, ( Frances Chini ), and after unknown artist, ( Marco

A West View of the Ruins of the Great Temple in Palmyra, John Record, active 1768–1784, after unknown artist, 1768, Engraving

Modern Italy, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving; earliest engraver's proof on thick, slighty textured, cream wove paper, Sheet:

Plan of the Ancient Palace of Westminster by the late Mr. William Capon, measured and drawn between 1793 and 1823, Print made by James Basire, 1769–1822, British, after William Capon, 1757–1827, British, 1828, Line engraving and graphite

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

Jerusalem, 1838, Print made by Edward Francis Finden, 1791–1857, British, after drawing by Joseph Mallord William Turner, 1775–1851, British, after sketch by Sir Charles Barry, 1795–1860, British, 1838, Engraving, Sheet: 6 3/16 x 7

The Fountain, 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

Illustration for 'Denham', Print made by J. H. Wright, active 1795–1838, after Richard Westall, 1765–1836, British, 1807, Line engraving on medium, slightly textured, cream wove paper

At the Monte Cavallo 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,

Illustrations for 'Gil Blas', plate V, Print made by William Sharp, 1749–1824, British, after Thomas Stothard, 1755–1834, British, 1781, Line engraving on medium, slightly textured, cream wove paper

Havre, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof (touched

Sir Toby Matthews, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 12 x 9 1/4 inches (30.5 x 23.5 cm), Plate: 7 1/8 x 5 1/2 inches (18.1 x 14 cm),

'A View of Charles Town the Capital of South Carolina in North America, ' from Scenographia Americana, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Thomas Mellish, ca.1748–1782, British, 1758-1760, Engraving,

The Sacrifice, John Goldar, 1729–1795, British, after John Collet, ca. 1725–1780, British, Published by Thomas Bradford, active 1763–died 1773, British, 1767, Line engraving and etching on moderately thick, moderately textured,

View of London from the Strand Bridge, unknown artist, nineteenth century, after unknown artist, 1816, Engraving

Lyme Regis, Norfolk, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving and etching, 2nd state on moderately thick, slightlyt textured, cream, wove paper, with cream

Sion House in Middlesex, William Watts, 1752–1851, British, after William Watts, 1752–1851, British, 1783, Engraving

2nd. Lecture upon the newly approv'd / Method of Casting and Fireing, Charles Loraine Smith, 1751–1835, British, 1792, Hand colored engraving, Sheet: 8 1/4 x 10 3/8in. (21 x 26.4cm

Gledhow, Print made by George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1816, Etching and line engraving Engraver's proof on medium, slightly textured, cream wove paper, Sheet: 11 3/8 × 17 1/4

The Rhymer's Glen, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, first published state

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

S. Pauls Cathedral, Published by Jan de Ram, 1648–after 1696, ca. 1690, Etching and line engraving on medium, slightly textured, cream wove paper

A View of the Salfatara, a Remarkable Mountain Near Naples, Print made by unknown artist, (de Bois), Published by John Bowles, 1701–1779, British, undated, Etching and line engraving on medium, slightly textured, cream laid paper, laid

St. Mary le Bow, William Wise, Active 1823–1876, British, after George Shepherd, active 1782–1830, 1812, Engraving, Sheet: 11 5/8 x 7in. (29.5 x 17.8cm

Burning of old St. Paul's Cathedral in the Fire of London, Wenceslaus Hollar, 1607–1677, Bohemian, after Wenceslaus Hollar, 1607–1677, Bohemian, 1666, Engraving, Image: 2 3/8 x 3 15/16in. (6 x 10cm

M. Antonii Antii Lupi, Print made by unknown artist, sixteenth century, Published by Antonio Lafreri, 1512–1577, French, 1551, Line engraving on medium, slightly textured, cream laid paper, Sheet: 16 7/8 × 11 inches (42.9 × 27.9 cm) and

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