Images at Librifly

search results: Engraving clear search

Robin Hood and Clarinda hunting deer in a wooded landscape, unknown artist, eighteenth century, after Joseph Slater, c. 1750– died after 1789, undated, Engraving, Sheet: 5 1/4 × 3 1/8 inches (13.3 × 7.9 cm), arrows, bows, cap, dog

A Rake's Progress, Plate VII: In Fleet Street Prison, Print made by William Hogarth, 1697–1764, British, 1735, Line engraving on medium, moderately textured, cream wove paper, Sheet: 12 3/8 x 15 1/8in. (31.4 x 38.4cm

Algernon Percy, Earl of Northumberland, Jacobus Houbraken, 1698–1780, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1738, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

Destruction of Both Houses of Parliament, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first published state on thick, slightly textured, cream, wove paper,

A View of Fulham Bridge and Putney, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 13 x 18 7/16in. (33 x 46.8cm

Theodorus Rombouts, 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 engraving on medium, slightly textured,

A Case of Real Distress, after Richard Barrett Davis, 1782–1854, British, 1850, Line engraving on medium, slightly textured, cream wove paper

The Invasion, Plate II, England, 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

Lady Elizabeth Cavendish (née Hervey), Duchess of Devonshire, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1787, Stipple engraving on moderately thick,

Apollo Killing the Python, Lumb Stocks, 1812–1892, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Plate 9, The Idle 'Prentice Betrayed by his Whore and Taken in a Night Cellar with his Accomplice, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching with line engraving, Sheet:

Portrait in profile of Leonardo da Vinci, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Leonardo da Vinci, 1452–1519, Italian, 1795, Engraving

Anne Page, Slender and Shallow - 'The Merry Wives of Windsor, ' Act III, Scene IV, Charles Burt, 1822–1894, American, after Charles Robert Leslie, 1794–1859, British, 1850, Engraving, Sheet: 19 1/2 x 23 1/2in. (49.5 x 59.7cm

A Remarkable Old House in Leadenhall Street, Samuel Rawle, 1771–1860, British, after Samuel Rawle, 1771–1860, British, 1801, Engraving

Petrus Stevens, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving, stipple engraving and etching on medium, slightly

Lavinia, Countess Spencer, Viscountess Althorp, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, Published by E. M. Diemar, active 1780–1796,

Blenheim, Oxfordshire, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, with scraping out and touched with graphite (Engraver's Proof a

Bancrofts/ Alms-houses in Bow Road, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving

A Rake's Progress, Plate II: His Levee, William Hogarth, 1697–1764, British, 1735, Engraving, Sheet: 12 1/4 x 15 1/4in. (31.1 x 38.7cm

Funsbury Square, John Greig, active 1800–1853, British, after George Morland, 1763–1804, British, 1817, Engraving

Fingal's Cave, Staffa - from XLVII 'Scott's Poetical Works', Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove

Burlington Arcade, J. Stiven, active 1819, after Henry Perry, active 1810–1848, 1819, Hand colored engraving

Henry Tresham, Esq, R.A., Print made by George Chinnery, 1774–1852, British, after George Chinnery, 1774–1852, British, 1802, Etching, drypoint prints and stipple engraving on medium, slightly textured, cream Asian paper, Sheet: 9

View near Bagnigge Wells, John Goldar, 1729–1795, British, after William Capon, 1757–1827, British, 1788, Engraving

Nollekens, Benjamin Holl, 1808–1884, British, after unknown artist, undated, Stipple Engraving

The Death of Adonis, Print made by Elisha Kirkall, ca. 1682–1742, British, after Ciro Ferri, 1634–1689, Italian, 1723, Chiaroscuro woodcut and engraving

Drury Lane Theatre during and after the Fire of 1809, William Wise, Active 1823–1876, British, after C. John M. Whichelo, 1784–1865, British, And after William Capon, 1757–1827, British, 1811, Engraving

To the Royal Kentish Bowmen, This Plate of His Highness sic, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Russell, 1745–1806, British, 1795, Hand colored stipple engraving with gum, Sheet: 19

The Death of Captain Cook, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), And William Byrne, 1743–1805, British, after John Webber, 1752–1793, British, 1783, Line engraving with etching, engraver's

Dover from Shakespeare's Cliff, Print made by George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1826, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper,

The Middle Temple Hall, London, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1800, Steel engraving on medium, slightly textured, cream, wove paper, Sheet: 15 13/16 × 19 5/8 inches (40.2

A Plan of Greenwich Park and A View of the Ranger's and Flamstead Houses, unknown artist, after unknown artist, (I. M.), 1749, Engraving

A Perspective View of the Royal Hospital for Seamen at Greenwich, Robert William Smart, active 1820–1834, after unknown artist, ( William Fabian ), 1816, Engraving

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

Lincoln's - Inn Chappel, George Vertue, 1684–1756, British, after George Vertue, 1684–1756, British, 1751, Engraving, Sheet: 21 1/4 x 16 3/8in. (54 x 41.6cm

A Widow - Une Veuve, 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 5/8 × 14 1/4 inches

Alborough, Suffolk, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Edinburgh from the Calton Hill, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Open etching and line engraving on moderately thick, moderately textured, cream, wove paper, with gray,

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

The Guildhall, Robert Acon, active 1828–1850, after Thomas Hosmer Shepherd, 1792–1864, British, 1828, Engraving

Kelso, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Edward Russel Earl of Oxford, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1742, Line engraving on medium, slightly textured, cream laid paper

R.P. Joannes Baptista de Bisthoven, Adrian Lommelin, c. 1637–1677, 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 medium, slightly

Windsor Castle, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Lne engraving and etching on moderately thick, slightly textured, cream, wove paper, with beige chine colle, Sheet: 10

Woolwich, James Walker, 1748–1808, British, after Thomas Girtin, 1775–1802, British, 1793, Engraving

A View of Grosvenor Square, London, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1794, Hand colored engraving

Florence, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving, Engraver's Proof on medium, slightly textured, beige, wove paper, with beige, chine colle, Sheet: 11 3/8

Falstaff with Hotspur on his Back - 'Henry IV, ' Part I, Act V, Scene IV, Jan J. van den Bergh, active 1793–1800, after Henry William Bunbury, 1750–1811, British, 1794, Engraving and stipple engraving, Sheet: 16 1/2 x 19in. (41.9 x

Young's Night Thoughts, Page 80, 'The thunder if in that the Almighty dwells', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Sir Nicholas Bacon, Lord Keeper, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Federico Zuccaro, 1540/1541–1609, Italian, 1738, Line engraving on medium, slightly textured, cream laid paper

Graville, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Bedford, Bedfordshire, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 5/8 × 14

Portrait of An: Caracci, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Annibale Carracci, 1560–1609, Italian, 1796, Engraving

Two Plans for the Conversion of Old London Bridge by C. Labelye, The Second a Plan by Sir Christopher Wren, Benjamin Cole, 1697–1783, British, after Charles Labelye, 1705–1781, British, And Christopher Wren, 1632–1723, British, 1746,

The Market Cart, after Thomas Gainsborough RA, 1727–1788, British, Published by George Virtue, ca. 1820–1908, British, ca. 1875, Line engraving on medium, slightly textured, cream wove paper

Shakspeare, Edward Scriven, 1775–1841, British, 1835, Stipple engraving, line engraving and etching on wove paper, Image: 5 1/8 x 4in. (13 x 10.2cm) and Sheet: 10 3/4 x 6 3/4in. (27.3 x 17.1cm

John Milton, Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1760, Engraving, Sheet: 7 3/16 x 10 15/16in. (18.3 x 27.8cm

Wolf's Hope, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, engraver's proof

Polling at the Hustings, 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 medium, slightly textured,

The Calmady Children, Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, Published by Hodgson, Boys & Graves, ca. 1812–1892, British, 1835, Mezzotint, line engraving, and stipple

For the Sexes: The Gates of Paradise, Plate 18, 'I have said to the Worm . . . .', 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

Indenture Between Richard the Prior and the Convent of the Holy Trinity Within, Bartholomew Howlett, 1767–1827, British, after Bartholomew Howlett, 1767–1827, British, 1825, Engraving, Sheet: 12 5/8 x 9 7/8in. (32.1 x 25.1cm

A Negroes Dance in the Island 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), 1779, Stipple

Funeral Card of Sir Joshua Reynolds, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Edward Francis Burney, 1760–1848, British, 1792, Etching and line engraving on moderately thick, slightly textured,

Napoleon's Logement, Quai Conti, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, first published state

La Chaise de Gargantua near Duclair, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

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

Chateau Hamelin, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

The Exercise of See Saw, L. Truchy, 1721–1764, after Francis Hayman, 1707/8–1776, British, c. 1743, Engraving

A View of the Piazza of St. John de Lateran, of the Cardinals College, and of the Holy Stairs in the City of Rome, Print made by unknown artist, (de Bois), Published by John Bowles, 1701–1779, British, undated, Etching and line engraving

A View of the Royal Exchange, London, unknown artist, after unknown artist, 1731, Hand colored engraving

Sir Joshua Reynolds, Caroline Watson, 1760–1814, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1789, Stipple engraving, Sheet: 11 x 8 1/4in. (27.9 x 21cm

Milk below Maids, Print made by Luigi Schiavonetti, 1765–1810, Italian, after Francis Wheatley, 1747–1801, British, 1793, Stipple engraving, printed in color, Plate: 16 1/4 x 13 3/4in. (41.3 x 34.9cm), children, cityscape, genre

London, John Greig, active 1800–1853, British, after Baroness Margaretta Elizabeth Arden, 1768–1851, British, 1804, Engraving, bridge (built work), cathedral, cityscape, river, ships, England, London, St. Paul's Cathedral,

Arena of the Royalty Theatre, Bartholomew Howlett, 1767–1827, British, after C. Westmacott, active 1815, 1815, Engraving

Wolsey's Well at Esher, Surrey, Print made by George Cooke, 1781–1834, British, after James Duffield Harding, 1798–1863, British, Published by Longman, active 1804–1914, British, 1830, Etching and line engraving on medium, slightly

View of the Office of Ordnance with the Entrance of the House of Lords, unknown artist, undated, Etching and engraving on slightly textured, medium thickness, white laid paper, Sheet: 6 7/8 × 4 3/4 inches (17.5 × 12.1 cm), architectural

Monument for Sir Joshua Reynolds, George Saunders, c.1762–1839, British, after Peter P. Benazech, 1767–1794, 1792, Line engraving, Sheet: 6 5/8 x 4in. (16.8 x 10.2cm

Malmsbury Abbey, Wiltshire, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Thomas Howard Earl of Arundel, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Paul Rubens, 1577–1640, Flemish, 1744, Line engraving on medium, slightly textured, cream laid paper

Tivoli, a Composition, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Etching and line engraving; engraver's proof on moderately thick, moderately textured, cream laid

Jerusalem from the Latin Convent, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Black-Fryers Bridge, unknown artist, after unknown artist, 1795, Engraving, Sheet: 8 1/4 x 6 13/16in. (21 x 17.3cm

Nantes, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1832, Line engraving, first published state on moderately thick, slightly textured, cream, wove paper, with gray, chine

The Old Theatre, Drury Lane, unknown artist, after unknown artist, 1794, Engraving

The Chedder Cliffs, Somersetshire, Print made by Mollineux, active 1729, after unknown artist, (formerly) after Joseph Mallord William Turner, 1775–1851, British, 1810s, Line engraving

Moss Dale Fall, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, with cream, chine

Rievaulx Abbey, Joseph C. Bentley, 1809–1851, British, after Joseph Mallord William Turner, 1775–1851, British, 1834-1836, Line engraving, Engraver's proof

Tours, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

The Fighting Téméraire, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Mrs. Siddons in the Character of the Tragic Muse, Francis Haward, 1759–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1787, Stipple engraving, Plate: 23 3/4 x 18in. (60.3 x 45.7cm

Robert Dudley Earl of Leicester, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1738, Line engraving on medium, slightly textured, cream laid paper

The Colosseum, Exterior, Print made by unknown artist, sixteenth century, Published by Antonio Lafreri, 1512–1577, French, 1546-1590, Line engraving on medium, slightly textured, cream laid paper

W. and N. W. Views of Canonbury, unknown artist, seventeenth century-eighteenth century, after unknown artist, undated, Engraving, Sheet: 4 5/8 x 8 11/16in. (11.7 x 22.1cm

Marriage A-La-Mode, Plate III: The Scene with the Quack, Bernard Baron, 1696–1762, French, after William Hogarth, 1697–1764, British, 1745, Engraving, Sheet: 14 x 17 5/8in. (35.6 x 44.8cm

The Desert of Sinai, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

William of Wickham, Bishop of Winchester, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1738, Line engraving on medium, slightly textured, cream laid paper

The Upper Pool, John Woods, active 1836–1860, after John Salmon, 1808–1886, British, c. 1850, Engraving

Stoke Newington, Middlesex, unknown artist, after unknown artist, 1807, Engraving

Theatrum Sive Coliseum Romanum, Print made by Nicolas Beatrizet, 1507 or 1515–ca. 1565, French, Print made by Antonio Salamanca, ca. 1500–1562, Spanish, Published by Antonio Lafreri, 1512–1577, French, 1538, Etching and line

search results: Engraving clear search