Images at Librifly

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A View of the Fountain in the Temple, Henry Fletcher, 1729–active 1750, after Joseph Nickolls, active 1713–ca. 1755, British, 1753, Engraving, Sheet: 13 5/8 x 18 1/2in. (34.6 x 47cm

The Earl of Mansfield's at Caen Wood near Hampstead, unknown artist, after unknown artist, 1792, Engraving

Head of a Young Girl turned toward the Left, Print made by Louis Marin Bonnet, 1736–1793, French, after Sebastion Le Clerc, 1637–1714, French, or Sebastien Le Clerc, 1676–1763, French, 1774, Crayon manner and stipple engraving,

A View of Westminster Bridge from Labeth, unknown artist, eighteenth century, after unknown artist, (?), undated, Engraving, Sheet: 9 7/8 x 16 1/8in. (25.1 x 41cm

Benjamin Robert Haydon, James Thomson, 1789–1850, British, after James Thomson, 1789–1850, British, 1820, Engraving

Animals a pair: 1. Lioness, Samuel William Reynolds, 1773–1835, British, after James Northcote, 1746–1831, British, 1799, Stipple engraving, Sheet: 15 1/2 x 20 5/8in. (39.4 x 52.4cm), animal art, leg (animal component), lioness,

Shakspeare, Charles Warren, 1767–1823, British, after John Thurston, 1744–1822, British, 1805, Line engraving on wove paper laid down on paper, Sheet: 7 3/4 x 5in. (19.7 x 12.7cm

For the Sexes: The Gates of Paradise, Plate 5, 'Earth', 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), Sheet: 13

Jupiter and Io, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Correggio, ca. 1489/94–1534, Italian, 1784, Engraving

Albertus, Princeps.Com. Aremberg. Princ. Barbanson. Com. Aigremontan, et Rup. in Ardenn. Vicecom. Davens, Par, Hannon, et Civit Leod. et Monti, In Hannon, Advocat, Perpet, Aur. Vell, Eq, Etc., Schelte A. Bolswert, 1586–1659, Dutch,

Milton, George Quinton, born 1779, British, after Peter van der Plas, c.1595–c.1650/61, Belgian, 1797, Engraving, Sheet: 7 13/16 x 10 11/16in. (19.8 x 27.1cm

Pl. 3: Baffled Devils Fighting ' ... so turn'd/ His talons on his comrade.' Hell; Canto xxii. line 135, William Blake, 1757–1827, British, 1827, Line engraving on medium, slightly textured, cream wove India proof paper, Sheet: 14 11/16 ×

Falls near the Source of the Jumna, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Engraving

Joannes Wildens, Pictor Ruralium Prospectuum 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

The Right Honorable Charles Abbot, Charles Picart, c.1780–1837, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1804, Stipple engraving on moderately thick, slightly textured, beige, laid paper, Sheet: 20 13/16 × 15 1/16

Tantallon Castle, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

The Houses of Lords and Commons, Print made by Miss Mary Byrne, 1776–1846, British, after John Preston Neale, 1771/80–1847, British, 1815, Line engraving on smooth, medium, white wove paper, Sheet: 4 5/8 × 6 1/8 inches (11.7 × 15.6

Vol. 6, Plate XXXI: A Continuation, as it is Presumed, of the Story of Antiochus. The Story of Abimelech., Print made by James Basire, 1769–1822, British, after Charles Alfred Stothard, 1786–1821, British, 1842, Hand colored engraving

Plymouth, Devonshire, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 3rd state on thick, smooth, beige, wove paper, Sheet: 10 5/8 × 14 13/16 inches (27 ×

Plate 25 (page 46): 'Where sense runs savage broke from reason's chain', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Young's Night Thoughts, Page 33, 'Like That, the Dial Speaks; and Points to Thee', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Ingleborough, from Hornby Castle Terrace, Charles Heath, 1785–1848, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving and etching on moderately thick, smooth, cream, wove paper, Sheet: 10 3/4 ×

Henry Stone, Alexander Bannerman, ca. 1730–1780, after Edmund Lilly, active 1680– died 1716, British, 1762, Line engraving on medium, slightly textured, cream wove paper, Sheet: 8 3/8 x 6 3/4 inches (21.3 x 17.1 cm), Plate: 7 1/2 x 6

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

Stirling, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, engraver's proof

The Great Fire of London, 1666, James Stow, ca. 1770–after 1820, British, after unknown artist, 1811, Engraving

Plate VI, Human Body, Frontal View, Print made after George Stubbs, 1724–1806, British, 1804, Stipple engraving on moderately thick, slightly textured, cream wove paper, Sheet: 26 3/4 × 20 inches (67.9 × 50.8 cm), Plate: 20 × 15

A Meadow Scene at Hampstead, Middlesex, William Birch, 1755–1834, British, after William Robson, active 18th century, 1790, Stipple engraving

The Alps at Daybreak, 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 5/16

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

Untitled: Shakspeare, Benjamin Holl, 1808–1884, British, c. 1827, Stipple engraving on laid paper (proof impression), Sheet: 9 5/8 x 5 13/16in. (24.4 x 14.8cm) and Plate: 9 1/8 x 5 1/2in. (23.2 x 14cm

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), 1763, Etching and line engraving

Neptune's Trident (vignette on wrapper), Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1824 to 1825, Line engraving

Old Porch, Character House, Edward Pryce Owen, 1788–1863, British, after John Preston Neale, 1771/80–1847, British, 1815, Engraving, Sheet: 5 x 6 5/8in. (12.7 x 16.8cm

Ginevra, Print made by Edward Alfred Goodall, 1819–1908, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Four Children on a Stage, Adelaide Claxton, 1858–1905, British, undated, Wood-engraving, Sheet: 6 x 9 1/4in. (15.2 x 23.5cm), audience, children, genre subject, girls, performance, stage

Richmond Hill and Bridge, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 2nd state on moderarely thick, slightly textured, beige, wove paper, with cream, chine colle,

Interior of the Hall of Eltham Palace, James S. Storer, 1771–1853, British, after James Baynes, 1766–1837, British, 1804, Engraving

View of the Vauxhall Iron Bridge, unknown artist, nineteenth century, after unknown artist, 1816, Hand colored engraving, Sheet: 12 3/4 x 18 5/8in. (32.4 x 47.3cm

Henry VI, Part III: Act IV, Scene V, A Park Near Middlham Castle in Yorkshire, Jean B. Michel, active 1803, after William Miller, 1796–1882, British, 1803, Engraving, Sheet: 17 7/16 x 23 7/16in. (44.3 x 59.5cm

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 Death Boat of Heligoland, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

Another View of the Temple of Aesculapius, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1764, Etching and line engraving on moderately thick, slightly textured, cream laid paper

Sessions House, Clerkenwell Green, S. Lacey, active 1830s, after Thomas Hosmer Shepherd, 1792–1864, British, 1831, Engraving, Sheet: 7 3/8 x 8 3/4in. (18.7 x 22.2cm

Ancestor of Christ from Abiah Lunette (Left Figure), 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

Roboam, Ancestor 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

Attempt to Assassinate Prince Edward in Palestine, Print made by Anker Smith, 1759–1819, British, after Robert Smirke, 1752–1845, British, Published by Nuttall, Fisher & Dixon, active 1818, British, 1816, Etching and line engraving on

Balesson, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, c. 1789, Hand colored engraving

St. Luke's, Charlton, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1798, Engraving

The Palace and Park of St. James's, Johannes Kip, 1653–1722, Dutch, after unknown artist, undated, Hand colored engraving

Book of Job, Plate 8, Job's Despair, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/8 × 10 3/4 inches (38.4 × 27.3 cm), Plate: 8 1/2 × 6 5/8 inches (21.6 × 16.8

Dartmouth Cove, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Guildhall Chapel, unknown artist, after unknown artist, 1800, Engraving

Westminster Hall, unknown artist, nineteenth century, ca. 1820, Line engraving on moderately textured, moderately thick, white wove paper, Sheet: 7 15/16 × 8 3/4 inches (20.1 × 22.3 cm) and Plate: 6 9/16 × 7 5/8 inches (16.7 × 19.4 cm),

Hotel de Ville, Ghent, Print made by Albert Henry Payne, 1812–1902, British, ca. 1840, Etching and line engraving on medium, slightly textured, cream wove paper

Miss Farren, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), and Charles Knight, 1743–c.1826, British, after Sir Thomas Lawrence, 1769–1830, British, Published by John P. Thompson, active

Sir Joshua Reynolds, Knt. L. L. D., President of the Royal Academy, Print made by John Condé, 1765–1794, French, active in Britain, after unknown artist, Published by John Sewell, active 1735–1802, British, 1793, Etching and stipple

The Death and taking Say of the Stag, Robert Sheppard, active 1730–1740, British, after Jan Wyck, ca. 1645–1700, Dutch, active in Britain (from ca. 1664), no date, Line engraving, Sheet: 11 5/8 x 17 1/2in. (29.5 x 44.5cm

The Great Place or Square of St. Mark as seen from the Great Clock. On the left side is the Portal of St. Marks Church. The magnificent Building on the side in front are the dwellings of the Procurators of St. Mark, Nathaniel Parr, active

Henry Howard Earl of Surrey, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1750, Line engraving on medium, slightly textured, cream laid paper

Fishmonger's Hall, John Woods, active 1836–1860, after Frank W. Warwick Topham, 1838–1924, British, And after Robert Garland, c. 1808–1863, c. 1835, Engraving

Pine Apples Raised and Sold by Henry Scott, Gardener at Weybridge, Francois Vivares, 1709–1780, French, after Samuel Wale RA, 1721–1786, British, 1754, Engraving, Sheet: 11 x 18 1/2in. (27.9 x 47cm

Young's Night Thoughts, Page 54, 'The vale of death! that hush'd cimmerian vale', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Charles Lord Talbot, Lord High Chancellor, Print made by Jacobus Houbraken, 1698–1780, Dutch, after John Vanderbank, 1694–1739, British, 1740, Line engraving on medium, slightly textured, cream laid paper

Vide Howard on Prisons, page 82, Octavo edition, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1780, Engraving

Lady Dalrymple Hamilton, John Samuel Agar, ca. 1773–1858, British, after Anne Mee, ca. 1760–1851, British, 1812, Stipple engraving on moderately thick, slightly textured, cream, wove paper, with cream chine collé, Sheet: 22 × 16

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

Somerset House, In its Original State, unknown artist, nineteenth century, after unknown artist, 1809, Hand colored engraving

Lady Charlotte Smith and her Children; George Henry, Louisa and Charlotte, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1789, Stipple engraving on

July, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1789, Engraving

Cornhill, London as it appeared in 1630, Bartholomew Howlett, 1767–1827, British, after unknown artist, 1818, Engraving, Sheet: 8 7/8 x 10 3/4in. (22.5 x 27.3cm

The South East View of Brook House, James Roberts the Elder, 1725–1799, British, after Jean B. C. Chatelain, 1710–1771, French, c. 1750, Engraving

Presentation of the Mahometan Credentials - or - The Final resource of French Atheists, James Gillray, 1757–1815, British, 1793, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

St. Paul's Covent Garden during the Fire on 17 September 1795, John Scott, 1774–1828, British, after B. F. Scott, active 1795, 1795, Engraving, Sheet: 10 x 15 5/16in. (25.4 x 38.9cm

Fowey, Cornwall, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with

Chatham, Kent, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Carew Castle, Pembroke, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

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

St. Germains, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof, touched

Mrs. Fitzherbert, Print made by John Condé, 1765–1794, French, active in Britain, after Richard Cosway, 1742–1821, British, Published by John Condé, 1765–1794, French, active in Britain, Published by Mrs. Lay, active 1792,

Illussma. Dña, Genovesa D'Urphe, Vidua Caroli Alexand, Duc, Croi Marchion de Havere 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),

Valombre, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st state on moderatelely thick, slightly textured, beige, wove paper, Sheet: 11 5/8 × 6 1/4 inches

Sir Francis Walsingham, Pieter S. van der Gunst, 1659–c. 1724, after Adriaan van der Werff, 1659–1722, Dutch, undated, Line engraving and stipple engraving on medium, slightly textured, beige, laid paper, Sheet: 12 15/16 × 7 1/2

Plate 11 (page 17): 'NIGHT the SECOND/ ON/ TIME, /DEATH/ AND FRIENDSHIP', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Herstmonceux Castle, Interior of Porter's Lodge and Gateway Tower, William Henry Brooke, 1772–1860, Irish, after William Henry Brooke, 1772–1860, Irish, undated, Engraving on smooth, medium, cream wove paper, Sheet: 8 5/8 × 5 5/8

Henricus van Baelen, Pictor Antu; Humanarum Figurum Vetustatis Cultor, Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple engraving

A View from Somerset Gardens to Westminster Bridge, John S. Muller, ca. 1715–1792, German, active in Britain, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), 1750, Engraving

South Elevation of the White Tower, in the Tower of London, James Basire, 1769–1822, British, after Frederick Nash, 1782–1856, British, 1815, Engraving

Falmouth, Cornwall, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1816, Engraving and etching , first published state on moderately thick, moderately textured, cream, laid paper,

The London Institution, William Wallis, 1794– active 1830, after unknown artist, ( W. Morland ), 1817, Engraving

Head of a Female Moor, Print made by Samuel Ireland, active 1760–died 1800, British, after William Hogarth, 1697–1764, British, 1785, Etching and stipple engraving on medium, slightly textured, cream wove paper

Untitled Street Scene with a Church, Print made by James Redway, active 1827–1838, after Robert Batty, 1789–1848, British, undated, Line engraving on medium, slightly textured, cream wove paper

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

Ehrenbreitstein (Vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving

Florence, from Fiesoli, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and line engraving on medium, smooth, cream, wove paper, with cream, cchine colle, Sheet: 10 × 14

The Distressed Poet, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1797, Engraving, Plate: 14 1/2 x 16 3/8 inches (36.8 x 41.6 cm

Conventualis Ecclefia Hospitalis S. Catherinae, Wenceslaus Hollar, 1607–1677, Bohemian, after Wenceslaus Hollar, 1607–1677, Bohemian, 1660, Engraving, Sheet: 7 1/2 x 11 3/8in. (19.1 x 28.9cm

Cæsar Alexander Scaglia Abbas Staphardæ et Mandanices, 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

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

Venice - The Campanile, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof, touched

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