Images at Librifly

search results: Engraving clear search

Johnson's Willow, James S. Storer, 1771–1853, British, And Henry S. Storer, 1795–1837, British, after unknown artist, ( Hewitt, J. ), undated, Engraving, Sheet: 6 1/2 x 4 1/8in. (16.5 x 10.5cm

A View of the Garden at Carlton House in Pall Mall, a Palace of H.R.H. the Princess Dowager of Wales, William Woollett, 1735–1785, British, after William Woollett, 1735–1785, British, ca. 1760, Engraving, Sheet: 14 3/4 x 21 3/8 inches

Brignall Church, Samuel Rawle, 1771–1860, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Open etching and line engraving on thick, slightly textured, cream, wove paper, with cream, chine colle, Mount:

David, 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

Jerusalem, with the Walls, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

General Charles Fleetwood, Jacobus Houbraken, 1698–1780, Dutch, after Robert Walker, 1607–1660, British, 1740, Engraving; Proof before inscription, with engraver's name and date only, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm), DON'T

Queen-Hith Ward and Vintry Ward, Benjamin Cole, 1697–1783, British, after unknown artist, 1755, 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,

At the City of Albano, 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,

The Villa of John Elsee, Esquire, Chigwell Row Outer Suburb - East, Samuel Davenport, 1783–1867, British, after Jacob C. Schnebbelie, 1760–1792, British, 1810, Engraving

John Flaxman, James Thomson, 1800–1883, British, after unknown artist, ( J. Derby ), 1823, Engraving

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

Studies for the Instruction of Painters, two suites. Rome, c. 1630, Print made by Francesco Curti, 1610–1690, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Domenico de Rossi, active 17th century, Italian,

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

Catherine of Braganza, Print made by Edward Le Davis, active 1671–1691, British, after Jan Baptist Gaspars, 1620?–1691, Flemish, Published by Moses Pitt, 1639–1697, British, 1682, Line engraving and etching on moderately thick,

Arundel Castle and Town, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 2nd state on thick, smooth, cream, wove paper, with cream, chine colle, Sheet:

Henry Tilson, Painter, Print made by Henry Hoppner Meyer, ca. 1782–1847, British, after Henry Tilson, 1659–1695, British, between 1800 and 1840, Etching and stipple engraving on medium, slightly textured, cream wove paper, Sheet: 14

St. Stephen's Chapel, Speaker's House, &c. from the River, unknown artist, nineteenth century, ca. 1835, Line engraving, proof before letters on slightly textured, moderately thick, white wove paper, Sheet: 5 13/16 × 7 7/16 inches (14.8 ×

Theodorus Rombouts, Pictor Humanarum Figurarum 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

Venice - The Campanile, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, first published state

Lancaster from the Aqueduct Bridge, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Petrus de Jode Junior, Chalcographus Antuerpiæ, 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, Line engraving and stipple engraving

Portrait: G. Stubbs, Animalium Pictor, D. P. Pariset, born 1740, active in Britain from 1767, French, after Pierre-Etienne Falconet, 1741–1791, French, after 1769, Soft-ground etching and engraving on medium, slightly textured, cream,

Ticket for the Masked Ball at Ranelagh, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1776, Line engraving

Francesca Bridges Filia Domini Cavendish et Dotissa Exoniæ Comitissa, Print made by William Faithorne, ca. 1620–1691, British, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), Published

Plate XXXIX: House of Commons as Fitted Up in 1835, Print made by unknown artist, (William Taylor), after Robert William Billings, 1813–1874, British, ca. 1836, Line engraving on smooth, moderately thick, white wove paper, Sheet: 7 1/2 ×

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), 1780, Etching and line engraving

Plate 12, The Industrious 'Prentice Lord Mayor of London, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching with line engraving, Sheet: 10 3/4 × 15 7/8 inches (27.3 × 40.3 cm

Her Majesty Queen Victoria & Family, Print made by Bradshaw & Blacklock, active ca.1850, British, ca. 1851, Aquatint, etching, stipple engraving and color woodcut on thick, smooth, cream wove paper, Sheet: 4 13/16 x 7 5/16 inches (12.3 x

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,

Becket Assassinated, Print made by Anker Smith, 1759–1819, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1811, Etching and line engraving on thin, slightly textured, cream

Set of twelve: 4 Fox Huntings. 4 Stag Huntings. 4 Hare Huntings, James Seymour, 1702–1752, British, after John Wootton, 1682–1764, British, c. 1750, Engraving, Sheet: 6 7/8 x 10 5/8in. (17.5 x 27cm

Newark Castle (vignette), Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1854 reprint, Line engraving on medium, slightly textured, cream wove paper

Eight Rural Subjects, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, etching, stipple engraving and color woodcut on moderately thick, slightly textured, beige, wove paper, Sheet: 12 1/2 x 11 3/16 inches

Jacob and the Heavenly Ladder, John Alexander, active 1715–1752, British, after Raphael, Italian, 1483–1520, Italian, 1718, Etching and engraving, Sheet: 11 x 18 3/4in. (27.9 x 47.6cm

For Children. The Gates of Paradise, Plate 11, 'I want! I want!', 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),

Traitor's Gate, Tower of London, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, 1st state on moderately thick, smooth, beige, wove paper, Sheet: 11 5/8 × 6 5/16

The Last Man (vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof (touched

A View of the Parade in St. James's Park, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1753, Engraving

Rouen, looking up the river, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

A View of Charlton near Woolwich in Kent, Print made by Michael 'Angelo' Rooker, 1746–1801, British, after Paul Sandby RA, 1731–1809, British, 1775, Line engraving on medium, moderately textured, cream laid paper, Sheet: 7 1/2 × 10

The Brides of Venice, Print made by Charles Rolls, 1800–active 1830, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Rome, Castle of St. Angelo, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Fall of the Tees, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Kenilworth Castle, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Etching and engraving, 2nd state on moderately thick, slightly textured, beige, wove paper, with cream, chine

The taking of the St. Joseph a Spanish Carracca Ship, Sept. 23 1739, by the Chester and Canterbury Men of War, this Prize was Valued at upwards of 150, 000 pounds., Print made by Remi Parr, active 1723–1750, British, after Peter Monamy,

The Rt. Hon. Alexander Hood, Viscount Bridport, K.B., Print made by Samuel Freeman, 1773–1857, British, after Lemuel Francis Abbott, ca. 1760–1802, British, Published by Fisher, Son & Co., active 1821–1848, British, 1834, Stipple

The Four Times of Day, Plate IV: Night, William Hogarth, 1697–1764, British, 1738, Engraving, Sheet: 17 3/8 x 14 1/2in. (44.1 x 36.8cm

Ticket for the Benefit of Mr. Dragonetti, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Edward Francis Burney, 1760–1848, British, 1792, Etching and line engraving on medium, slightly textured, cream

White Tower, or Tower of London, unknown artist, after unknown artist, 1784, Engraving

James Beattie, LL.D., Print made by Thomas Gaugain, 1748–1812, French, after Sir Joshua Reynolds RA, 1723–1792, British, Published by Thomas Philipe, active 1770–ca. 1817, British, 1805, Stipple engraving and etching on moderately

O the Roast Beef of Old England, &c., Print made by Charles Mosley, c.1720–c.1770, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1749, Etching with line engraving, Sheet: 15 1/8 × 18

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

Sr. Walter Ralegh, Jacobus Houbraken, 1698–1780, Dutch, 1739, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

Mayburgh, Print made by John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Design for a Temple and Bridge in a Nobleman's Park, John Porter, active 1838, after Joseph Michael Gandy, 1771–1843, British, 1807, Engraving, Sheet: 10 x 8in. (25.4 x 20.3cm

A Flower Piece, Print made by Richard Earlom, 1743–1822, British, drawn by Joseph Farington, 1747–1821, British, after Jan van Huysum, 1682–1749, Dutch, Print made by John Boydell, 1720–1804, British, 1778, Etching and stipple

Martinus Rychart, Unimanus, Pictor Ruralium Prospectuum Antuerpiæ, Jacobus Neeffs, 1610–after 1660, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving,

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

The Capture of Tobago by Major General Cuyler, and Vice Admiral Sir John Laforey, Print made by J. Pass, active 1796–1800, 1798, Line engraving on medium, slightly textured, cream wove paper

At the City of Albano, 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,

West Window of the Chapel, New College Oxford: The Virtues - Prudence, George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1782, Stipple engraving on thick, rough, beige, laid paper, Sheet: 24 1/2 ×

George IV; Coronation Ticket; Westminster Abbey; Poet's Corner, unknown artist, 1821, Wood engraving

By the Sea, Print made by Alfred W. Cooper, active 1850–1901, British, after Alfred W. Cooper, active 1850–1901, British, undated, Wood-engraving with hand coloring on moderately thick, slightly textured, cream wove paper, Sheet: 4

Playing in Parts, James Gillray, 1757–1815, British, 1801, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Archbishop Williams Lord Keeper, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1742, Line engraving on medium, slightly textured, cream laid paper

Modern Italy, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving with graphite; early engraver's proof, touched on thick, slightly textured, beige

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

A View of the Range of Building Adjoining Westminster Hall, and Fronting the River Thames; Including a Space of 750 Feet, Print made by R.C. Roffe, active in London 1806–1835, British, after Philip William Wyatt, 1777–1835, British, 1827,

Robert Earl of Oxford, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Arthur Pond, ca. 1705–1758, British, 1746, Line engraving on medium, slightly textured, cream laid paper

St. Johns Chapel in the White Tower London, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1799, Engraving

St. Anne's Hill, No. I, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Field of Waterloo with Lightning, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, first published state

Mount Lebanon and the Convent of St. Antonio, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof, touched

Illustrations to Samuel Richardson's 'The Life of Pamela', illustrated by Joseph Highmore, Print made by Guillaume Philippe Benoist, 1725–ca. 1770, French, after Joseph Highmore, 1692–1780, British, 1762, Engraving, Sheet: 14 3/16 x 18

Sarah Dutchess of Marlborough, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1745, Line engraving on medium, slightly textured, beige laid paper

The Dragon Arum, 1801, from Robert John Thornton, the 'Temple of Flora', 1799-1812, Print made by William Ward, 1766–1826, British, after Peter Charles Henderson, 1719–1829, British, December 1, 1801, Mezzotint engraving printed in

Cornelius vander Geest, 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 mediium, slightly

Interior of the Royal Exchange, Robert Wallis, 1794–1878, British, OR William Wallis, 1794– active 1830, after John Preston Neale, 1771/80–1847, British, 1816, Engraving

Prince Albert, after George Baxter, 1804–1867, British, Print made by Bradshaw & Blacklock, active ca.1850, British, Published by Bradshaw & Blacklock, active ca.1850, British, after 1855, Aquatint, stipple engraving, etching and color

Apollo and Daphne in the Vale of Tempe, Print made by unknown artist, after print by Edward P. Brandard, 1819–1898, British, after Joseph Mallord William Turner, (?), 1775–1851, British, undated, Line engraving

Gems of the Great Exhibition No. 4: The Foreign Department, Print made by George Baxter, 1804–1867, British, 1852 or 1854, Aquatint and stipple engraving with color woodcut on medium, smooth, cream wove paper, laid on dome-shaped gold

Mrs. Robinson, Print made by William Birch, 1755–1834, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1792, Stipple engraving and acquatint on medium, slightly textured, beige laid paper, Sheet: 7 × 5 7/16 inches (17.8 ×

Britannia Allegory, Charles Grignion, 1717–1810, British, after Samuel Wale RA, 1721–1786, British, between 1743 and 1747, Line engraving and etching; letterpress on verso on medium, slightly textured, cream laid paper (page in book),

Edystone Lighthouse, Print made by Henry Winstanley, 1644–1703, British, between 1699 and 1708, Line engraving on medium, slightly textured, cream laid paper

Rouen Distant View, William Richardson, active 1842–1877, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, engraver's proof

Carolus de Mallery, 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

Sir William Chambers, D. P. Pariset, born 1740, active in Britain from 1767, French, after Pierre-Etienne Falconet, 1741–1791, French, 1769, Stipple engraving on moderately thick, slightly textured, beige, wove paper, Sheet: 18 15/16

Nineveh, Moussul on the Tigris, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Etching and engraving, (Engraver's Proof

Hamlet Winstanley, Alexander Bannerman, ca. 1730–1780, after Hamlet Winstanley, 1698–1756, British, 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 1/4 x 5 3/8

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

An Exact Survey of the Beautiful House, Garden and Park of the Earl of Pembroke, J. Bennet, active 1754–1765, after John Rocque, 1704?–1762, French, active in Britain, 1754, Engraving, Sheet: 13 3/4 x 21 1/2in. (34.9 x 54.6cm

The Miraculous Draught of Fishes, after George Baxter, 1804–1867, British, after Raphael, Italian, 1483–1520, Italian, Print made by Bradshaw & Blacklock, active ca.1850, British, Published by Bradshaw & Blacklock, active ca.1850,

Remains of the Manor House, demoninated The Lordship of Toten-Hall, William Wise, Active 1823–1876, British, after George Shepherd, active 1782–1830, 1813, Engraving

Male Nude from Panel of 'Creation of Eve', 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

Dieppe, Print made by Charles Heath, 1785–1848, British, drawn by Robert Batty, 1789–1848, British, Published by Rodwell & Martin, active 1819–1835, British, 1820, Line engraving on medium, slightly textured, cream wove paper

Girl with a Kitten, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, Published by William Dickinson, 1746–1823, British, 1787, Stipple

Dr. Lettsom's Fountain Cottage, Camberwell Grove, Surrey, Samuel Rawle, 1771–1860, British, after Samuel Rawle, 1771–1860, British, 1803, Engraving, Sheet: 5 x 6 3/4in. (12.7 x 17.1cm

'For Children. The Gates of Paradise', London, by William Blake, William Blake, 1757–1827, British, 1793, Engraving, Spine: 5 5/8in. (14.3cm) and Sheet: 5 3/8 x 4 1/2in. (13.7 x 11.4cm

King Henry IV, Part I: Act V, Scene iv, Plain near Shrewsbury. Prince Henry, Hotspur & Falstaff, Thomas Ryder, 1746–1810, Irish, after John Francis Rigaud, 1742–1810, French, active in Britain (from 1771), 1796, Engraving, Sheet: 23

search results: Engraving clear search