Images at Librifly

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Thomas Hayley (1780-1800), Print made by William Blake, 1757–1827, British, Published by Cadell & Davis, Strand, 1773–1836, British, 1800, Stipple engraving and line engraving on moderately thick, smooth, cream wove paper, Sheet: 11

Horse-racing Set of six: 1.The Cullen Arabian &c., William Elliot, active 1774, died 1792, British, And Thomas Smith of Derby, ca. 1720–1767, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15

Christ's Hospital, London, John Record, active 1768–1784, after John Record, active 1768–1784, 1784, Engraving, Sheet: 4 7/16 x 6 3/4in. (11.3 x 17.1cm

Young's Night Thoughts, Page 23, 'We censure nature for a span too short', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Billingsgate, John Woods, active 1836–1860, after John Salmon, 1808–1886, British, undated, Engraving on smooth, moderately thick, cream wove paper, Sheet: 7 3/8 × 9 1/2 inches (18.7 × 24.1 cm) and Image: 4 × 6 1/4 inches (10.2 ×

Walkuffa 1789, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Hand colored engraving

Strawberry Hill, William Radclyffe, 1780–1855, British, after John Preston Neale, 1771/80–1847, British, 1815, Engraving

Bridge of Meulan, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Penzance, Cornwall, Print made by James C. Allen, active 1821–1831, British, after Henry Gastineau, 1791–1876, British, Published by Isaac Taylor Hinton, 1799–1847, British, 1833, Line engraving and etching on moderately thick,

The Temptation on the Mountain, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Franciscus Franck Junior, William Hondius, c.1597–c.1660, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Etching and engraving on medium, slightly textured, blued white,

The Wreath, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17 3/16 × 11 3/4 inches (43.7 × 29.8

A South East View of London, Before 1666, Bartholomew Howlett, 1767–1827, British, after unknown artist, 1818, Engraving

Jane, Countess of Harrington, with Her Children, Lord Petersham and Honorable Lincoln Stanhope, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British,

Calais (Vignette), John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

A Wife - Une Femme Mariee, John Raphael Smith, 1752–1812, British, after John Raphael Smith, 1752–1812, British, 1791, Colored stipple engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 19 7/8 × 14 1/2

Modern Italy, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

B. West, Historical Painter, D. P. Pariset, born 1740, active in Britain from 1767, French, after Pierre-Etienne Falconet, 1741–1791, French, 1768, Stipple engraving

Blois, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, Engraver's proof on moderately thick, slightly textured, beige, wove paper, with cream, chine colle,

Hogarth Engraving His Master's Shop-bill the Sign of the Angel, John Thomas Smith, 1766–1833, British, 1817, Pen and black ink, brown ink, brown wash and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 12

Jericho, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Streatham House, Surrey, William Ellis, 1747–1810, British, after William Ellis, 1747–1810, British, 1793, Engraving, Sheet: 6 x 7 1/2in. (15.2 x 19.1cm

Columbus Setting Sail, 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 3/8

The Betrayal of Christ, Print made by William Faithorne, ca. 1620–1691, British, 1653, Line engraving with stipple engraving on moderately thick, slightly texutred, cream laid paper, Sheet: 9 5/8 x 8 inches (24.4 x 20.3 cm), attacking,

St. Cecilia, James Henry Watt, 1799–1867, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with cream, chine colle, Sheet: 17 1/2 × 12 inches (44.5 × 30.5

South West View of Battersea Church, James Roberts the Elder, 1725–1799, British, after Jean B. C. Chatelain, 1710–1771, French, 1750, Engraving on slightly textured, medium, cream laid paper, Sheet: 3 × 4 3/4 inches (7.6 × 12.1 cm),

Christ Church Cathedral and Part of Corpus Christi College, Print made by Joseph Skelton, active 1820–1850, after James Basire, 1769–1822, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Line engraving

Frederick, Duke of Schonberg, Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1739, Engraving, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm), DON'T USE: 18 1/2in. (47cm),

The Monument of King Henry III, in Westminster Abbey, Jacob van Schley, 1715–1779, Dutch, after Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), 1735, Engraving on medium, slightly textured, white wove

Warner Valliant, Vandrebanc, Francis Place, & William Lodge, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 7 3/4 x 5 3/4 inches (19.7 x 14.6 cm),

Fan Mount: Decorated with three Medallions, the Central Medallion is of an Angel driving a Two Horse Chariot, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1782, Engraving

Thomas Fairfax, third Lord Fairfax of Cameron, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Samuel Cooper, 1609–1672, British, 1738, Line engraving on medium, slightly textured, cream laid paper

Samuel Johnson, James Heath, 1757–1834, British, after unknown artist, undated, Engraving, Sheet: 8 1/8 x 4 3/4in. (20.6 x 12.1cm

Male Nude from Panel of 'The Drunkeness of Noah', 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

Tours - looking backwards, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving

Will. Shakespere, after Abraham Wivell, 1786–1899, British, 1827, Line engraving on wove paper, Sheet: 8 3/4 x 5 3/4in. (22.2 x 14.6cm

Londinum Urbs Praecipua Regnianglice, unknown artist, eighteenth century, after unknown artist, undated, Engraving

John Ralston, William Sadler, c. 1782–1839, Irish, after unknown artist, undated, Engraving

Illustrations of The Book of Job, Title Page, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/4 × 10 3/4 inches (38.7 × 27.3 cm), Plate: 8 3/8 × 6 1/2 inches (21.3 ×

Saumur, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on medium, smooth, white, wove paper, Sheet: 7 × 10 5/8 inches (17.8 × 27 cm), Plate: 5 15/16 × 8 1/2 inches

Jumieges, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof, touched

View of the Best Houses at Tothill Fields, Charles Pye, 1777–1864, British, after Edward Dayes, 1763–1804, British, 1796, Engraving

Rat Hunters, James Mitchell, 1791–1852, British, after Sir David Wilkie, 1785–1841, British, 1830, Engraving on medium, smooth, cream, laid paper, mounted on, thick, slightly textured, gray, laid paper, Mount: 21 13/16 × 15 5/16

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

O'Connor's Child, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

West Window of the Chapel, New College Oxford: Shepherd Boy and Dog, Part Nativity Window, George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1785, Stipple engraving on moderately thick, moderately

Tynemouth Priory, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, c. 1844, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-coll

George Nugent Grenville Temple Marquis of Buckingham Lord Leiutenant General & General Governor of the Kingdom of Ireland Knight Companion of the Most Noble Order of the Garter..., John Keyse Sherwin, c.1751–1790, British, after Thomas

The Polling, after William Hogarth, 1697–1764, British, 1766, Etching and line engraving on medium, slightly textured, cream laid paper

Ticket for the Benefit of Mr. Borghi, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1780, Etching and line engraving on

John Hunter, F.R.S., Print made by William Sharp, 1749–1824, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1788, Line engraving on thick, moderately textured, cream, laid paper, Sheet: 26 9/16 × 21 1/16 inches (67.5 ×

Confluence of the Seine and Marne, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving

Edward Gibbon, Esqr., William Ridley, 1764–1838, British, after unknown artist, 1794, Stipple engraving, portrait

Young's Night Thoughts, Page 63, 'This King of Terrors Is the Prince of Peace', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Theodorus van Lonius, Pictor Humanarum Figurarum Majorum Lovanii, Paulus Pontius, 1603–1658, Flemish, ca.1635, Line engraving and stipple engraving on medium, slightly textured, blued white, laid paper, mounted on, moderately thick,

Girl at a Window, 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,

Egglestone Abbey, near Barnard Castle, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Open etching and line engraving on moderately thick, moderately textured, cream, wove paper,

Rhodes, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, 1st published state on moderately thick, slightly textured, beige, wove paper, with gray chine colle, Sheet:

Southwest View of te Interior of the Church of St. Helen, Bartholomew Howlett, 1767–1827, British, after Frederick Nash, 1782–1856, British, 1817, Engraving, Sheet: 12 3/4 x 10 1/4in. (32.4 x 26cm

Remains of Winchester Palace, Southwark, Print made by George Cooke, 1781–1834, British, after John Sell Cotman, 1782–1842, British, Published by Longman, active 1804–1914, British, 1828, Etching and line engraving on medium,

Plate 7, The Idle 'Prentice Returned from Sea and in a Garret with a Common Prostitute, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching with line engraving, Sheet: 10 1/2 × 13

Colchester, Essex, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, second published state

In the Ambulatory belonging to Mercers Chapel in Cheapside, unknown artist, after unknown artist, 1793, Engraving

Fortitude, And: George Siegmund Facius, 1750–1804, And: Johann G. Facius, 1750–after 1802, German, after Sir Joshua Reynolds RA, 1723–1792, British, 1782, Stipple engraving

The Melton Breakfast, Charles G. Lewis, 1808–1880, British, after Sir Francis Grant, 1803–1878, British, 1839, Hand colored stipple engraving, Sheet: 18 1/8 x 28 1/4in. (46 x 71.8cm), dinner, food, meal

Interior and Exterior Views of the Olympic Theatre near Drury Lane, Henry R. Cook, active 1802–1849, British, active in Britain and France, after Jacob C. Schnebbelie, 1760–1792, British, 1816, Engraving

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

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

Eucomis Punctata, Plate 208 from Les Liliacées, volume 4, Paris, 1802-1816, Pierre-Joseph Redouté, 1759–1840, French of Flemish birth, undated, Color-printed stipple engraving with hand coloring on medium, slightly textured, cream wove

The Monument of London in Remembrance of the Dreadful Fire in 1666, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1752, Hand colored engraving

None, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Samuel Cooper, 1609–1672, British, between 1755 and 1780, Line engraving on medium, slightly textured, cream laid paper

Venice, the Rialto, Moonlight, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, 1st state on moderately thick, slightly textured, beige, wove paper, Sheet: 11 5/8 ×

Palais at Blois, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, engraver's proof

The Macarony Brothers, Print made by James Caldwall, 1739–1819, British, after Michel Vincent Brandoin, 1733–1807, Swiss, Published by Robert Sayer, 1725–1794, British, and John Smith of Cheapside, active ca. 1750–1789, British,

O'Connor's Child, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof touched

Junction of the Greta and Tees at Rokeby, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving, engraver's proof on moderately thick, moderately textured, cream, laid paper,

Plate 22 (page 40): ' Angels should paint it, angels ever there', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

An Album of Original Sketches, Eugene S. Ince, active 1860, British, ca. 1860, Pen and iron gall ink, graphite, wood engraving on cream, beige, and green, slightly textured wove paper, Spine: 8 7/8 inches (22.5 cm) and Sheet: 8 1/2 x 11

Albertus Princeps Com. Aremberg. Princ. Barbansom. Com. Aeigromontan. et Rup, in Ardenn. Vicecom. Davens. Per. Hannon et Civit Leod. et Monti, In Hannon. Advocat, Perpet. Aur. Vell. Eq, Etc., Schelte A. Bolswert, 1586–1659, Dutch, after Sir

Young's Night Thoughts, Page 27, 'O treacherous conscience!', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine: 16 3/4

Snowden Hill, William Woollett, 1735–1785, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1775, Line engraving and etching with hand coloring on moderately thick, moderately textured, cream laid

Industry and Idleness, Plate X, The Industrious 'Prentice Alderman of London, the Idle One Impeach'd before Him by His Accomplice, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833,

Fleet Street, J. Henshall, after Thomas Hosmer Shepherd, 1792–1864, British, 1831, Engraving

Ophelia: There Is Rue for You and Here's Some for Me, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after James Nixon, c.1741–1812, British, Published by William Dickinson, 1746–1823,

Die Stadt London, unknown artist, seventeenth century, after Peter H. Schut, 1618 or 1619–1660, Dutch, undated, Engraving

Strolling Actresses Dressing in a Barn, William Hogarth, 1697–1764, British, 1738, Engraving, Sheet: 16 1/2 x 21 3/16in. (41.9 x 53.8cm

The Lake of Lucerne, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

The Royal Palace of Windsor, Thomas Major, 1714–1799, British, after Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), 1745, Hand colored engraving, Sheet: 10 3/4 x 16in. (27.3 x 40.6cm

Winter, Victor Marie Picot, 1744–1805, French, after Philippe-Jacques de Loutherbourg, 1740–1812, French, active in Britain (from 1771), 1794, Engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 17 5/8 × 22

The Port, Hamburgh, Print made by Robert Wallis, 1794–1878, British, after Robert Batty, 1789–1848, British, ca. 1840, Line engraving on medium, slightly textured, cream wove paper

St. Michael's Mount - Shipwreck of Lycidas, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

The Northwest Prospect of the Church of St. Andrew Undershaft, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1736, Engraving, Sheet: 11 1/4 x 12 1/2in. (28.6 x 31.8cm

Maria Cosway, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, Published by Gaetano Stefano Bartolozzi, 1757–1821, Italian, 1785, Soft-ground

Chateau Gaillard, from the South, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

The Fishery, Print made by William Woollett, 1735–1785, British, after Richard Wright, ca. 1720–ca. 1775, British, 1768, Engraving and etching on moderately thick, slightly textured, beige, laid paper, mounted on thick, smooth,

Angelica and Medora, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1787, Engraving

Foundation Plan of the Ancient Palace of Westminster, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1807, Engraving

A View of the Court sitting on Trail of Lord Melville in Westminster Hall, T. Prattent, active 1751, after unknown artist, undated, Engraving

Young's Night Thoughts, Page 80, 'The Thunder If in That the Almighty Dwells', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

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

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