Images at Librifly

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Thomas Wharton, first Marquess of Wharton, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1744, Line engraving on medium, slightly textured, cream laid

Mrs. Jordan in the Character of the Romp, Print made by John Ogborne the Elder, 1755–1795, British, after George Romney, 1734–1802, British, 1788, Stipple engraving (first state) on moderately thick, slightly textured, cream, laid

St. Agatha's Abbey, Easby, John Le Keux, 1783–1846, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching, engraver's proof on moderately thick, moderately textured, cream, wove

Henry VIII: Act III, Scene I, A Room in the Queen's Apartments, Robert Thew, 1758–1802, British, after Matthew William Peters, 1742–1814, British, 1803, Engraving, Sheet: 17 3/8 x 23 1/4in. (44.1 x 59.1cm

Chelsea Hospital, James S. Storer, 1771–1853, British, after Samuel Prout, 1783–1852, British, 1805, Engraving, Sheet: 8 1/8 x 9 7/8in. (20.6 x 25.1cm

Henry Addington, 1st Viscount Sidmouth, James Parker, 1750–1805, British, after Sir William Beechey, 1753–1839, British, 1803, Line engraving on medium, moderately textured, cream, laid paper, Sheet: 17 7/8 × 13 5/8 inches (45.4 ×

Margate, Kent, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, with scraping out and touched with graphite (Engraver's Proof

Serenissimus Princeps Wolfangus Wilhelmus, D.G. Comes Palatinus Rheni, Dux Bavariæ, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635,

View of London from Greenwich Park, William Knight, active 1807–1845, after Edward Dayes, 1763–1804, British, 1799, Engraving

Saint Beat, Upper Garonne, Print made by Arthur Willmore, 1814–1888, British, after Thomas Allom, 1804–1872, British, undated, Line engraving on medium, slightly textured, cream wove paper

An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: The Front of the Monument of Aveline, First Wife of Edmund Crouchback (Plate I), Attributed to Sir Joseph Ayloffe, 1709–1781, British, after William

The Cyder Feast, Print made by Edward Calvert, 1799–1883, British, 1828, Wood-engraving on thin, smooth, cream Asian paper, Sheet: 3 7/16 x 5 1/2 inches (8.8 x 13.9 cm) and Image: 3 1/16 x 5 1/16 inches (7.7 x 12.8 cm), animal art,

The Toilet of Venus, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1788, Engraving

Solomon's Pools, James Stephenson, 1808–1886, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof, touched

Mr. Edwin and Mrs. Wells in the Characters of Lingo and Cowslip, Print made by Hugh Downman, d. 1789, after John Downman, 1750–1824, British, Published by Hugh Downman, d. 1789, ca. 1787, Stipple engraving on moderately thick, slightly

Hampton Court, Herefordshire, Print made by James S. Storer, 1771–1853, British, after Joseph Mallord William Turner, 1775–1851, British, Published by Vernor & Hood, active 1795–1807, British, 1801, Etching and line engraving on

Paris from the Barriere de Passy, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

And This Was Caesar, Print made by John Bell, 1811–1895, British, between 1838 and 1850, Etching and stipple engraving on moderately thick, slightly textured, beige wove paper with cream chine collé, Sheet: 6 5/16 x 8 1/16 inches (16 x

View of the Front of the Royal Exchange, Charles Phillips, 1737– after 1783, after Charles Phillips, 1737– after 1783, 1754, Engraving

The Wild Bull of Chillingham, Print made by Thomas Bewick, 1753–1828, British, 1781, Wood-engraving on moderately thick, smooth, cream vellum, Sheet: 10 1/16 x 13 9/16 inches (25.5 x 34.5 cm) and Image: 7 3/16 x 9 5/8 inches (18.3 x 24.4

Boston, Lincolnshire, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Joseph Addison Esquire, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1748, Line engraving on medium, slightly textured, cream laid paper

The Temptation on the Mountain, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, with scraping out and touched with graphite (Engraver's Proof b

Watchet, Somersetshire, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and engraving, 1st published state on moderately thick, slightly textured, cream, wove paper, with

An Old Oak, 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 inches (29.5

Spanish Ambassadors House Manchester Square and Old Houses in Long Lane West Smithfield, T. Prattent, active 1751, after unknown artist, 1797, Engraving

King on His Throne in the House of Lords, James Fittler, 1758–1835, British, after Edward Pugh, 1763–1813, British, ca. 1820, Engraving, Sheet: 6 9/16 x 8 1/16in. (16.6 x 20.4cm

Concert Ticket, Mary's Chappel, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly textured, cream wove paper

An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: Heads and Ornaments on the North Side of the Monument of King Sebert (Plate VI), James Basire, 1769–1822, British, William Blake, 1757–1827, British,

Twelfth Night, Act V, Scene I: The Street, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1803, Engraving on medium, smooth, cream wove paper,

The Southern Front of Somerset House, with its Extensive Gardens, Richard Sawyer, active 1820–1830, after Leonard Knyff, 1650–1721, Dutch, active in Britain (by 1681), 1808, Engraving

The Mint, Tower Hill, James Tingle, active ca. 1830–1860, after Thomas Hosmer Shepherd, 1792–1864, British, 1830, Engraving

Santa Maria della Spina, Pisa, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with

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

Chateau de la Mailleraie, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof, touched

Vestiges of a Crypt in Leadenhall Street, and Houses on the North Side of Leadenhall Street, Bartholomew Howlett, 1767–1827, British, after unknown artist, 1825, Engraving

Galileo's Villa (vignette), Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; first published state on medium, slightly textured, cream wove

Gledhow, Print made by George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1816, Etching and line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/8 × 21 3/8 inches (38.4 ×

Lawsuit Decided by Wouter Van Twiller, Print made by John Romney, 1786–1863, British, after Washington Allston, 1779–1843, American, 1823, Line engraving on medium, slightly textured, cream laid paper

A View of St. James's Gate, from Cleveland Row, Edward Rooker, 1724–1774, British, after Paul Sandby RA, 1731–1809, British, 1766, Engraving

Boulevards, Paris, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving and etching, on steel, engraver's proof, Sheet: 4 x 5 3/8in. (10.2 x 13.7cm

Young's Night Thoughts, Page 90, 'That touch, with charm celestial heals the soul', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

A General View of the City of Paris taken from an Eminence in the Village of Chaillot, Nathaniel Parr, active 1742–1751, British, after Jacques Rigaud, 1681–1754, French, 1749, Hand-colored engraving on laid paper, Sheet: 60 1/2in.

Winander-Mere, Westmoreland, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, first published state

Old House, Strasburgh, Print made by John Saddler, 1813–1892, British, after Myles Birket Foster, 1825–1899, British, undated, Line engraving on medium, slightly textured, cream wove paper

View on the Seine between Mantes and Vernon, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof (early

A View taken near Battersea Church looking towards Chelsea, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1752, Engraving on moderately textured, moderately thick, white laid paper, Sheet: 11 3/4 × 18 1/8

Paestum, Print made by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Robert Dudley, Earl of Leicester, Jacobus Houbraken, 1698–1780, Dutch, 1738, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

The South West Prospect of London, unknown artist, seventeenth century-eighteenth century, after unknown artist, undated, Engraving

Cornelius vander Geest, Artis Pictoriæ Amator 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

A View of the Temple of Comus & c. in Vauxhall Gardens, John S. Muller, ca. 1715–1792, German, active in Britain, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), ca. 1794, Hand colored engraving, Sheet: 10 3/4 x 16

Joseph Andrews, see Book 2, Chapter 16, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Hearne, 1744–1817, British, 1781, Engraving

Unharbouring 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 Farmyard, 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

The Death of Ananias, 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, British,

No. 2 A Table of Heiroglyphics found at Axum, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1771-1789, Engraving

Fish Market, Rotterdam, W. Floyd, active 1845, after Joseph Mallord William Turner, 1775–1851, British, 1834-1836, Line engraving

Miss Mary Anne Kirkley, Print made by George Dawe, 1781–1829, British, after Sir Joshua Reynolds RA, 1723–1792, British, Published by George Dawe, 1781–1829, British, 1801, Mezzotint and line engraving on moderately thick,

A Villa on the Night of a Festa di Ballo, Edward Alfred Goodall, 1819–1908, British, Print made by Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

The Right Honourable The Countess of Euston, Print made by Charles Wilkin, 1750–1814, British, after John Hoppner, 1758–1810, British, 1802, Stipple engraving on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/16 ×

Southeast View of the Nunnery of St. Helen, Bishopsgate Street, S. Springsguth, active 1816–1819, after Frederick Nash, 1782–1856, British, 1819, Engraving, Sheet: 10 1/2 x 13in. (26.7 x 33cm

The Simplon, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving (First Published State

Sunday Morning, A Cottage Family Going to Church, William Nutter, 1754–1802, British, after William Redmore Bigg, 1755–1828, British, 1795, Stipple engraving, colored on medium, slightly textured, beige, wove paper, mounted on,

Mrs. Sheridan and Son, Thomas Nugent, active 1785–1798, after John Hoppner, 1758–1810, British, 1800, Stipple engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 26 1/4 × 17 13/16 inches (66.7 × 45.2 cm),

Mount Moriah, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Etching and engraving, first published state

Alnwick Castle, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving and etching, 2nd state on moderately thick, slightly textured, beige, wove paper, with beige, chine

View of the Encampment in the Museum Gardens, August 1780, James Fittler, 1758–1835, British, after Paul Sandby RA, 1731–1809, British, 1780, Engraving

Venus childing Cupid, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1784, Engraving

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

Music Sheet Concerning the Pleasures of Spring Gardens, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 6 5/8 x 8 5/8in. (16.8 x 21.9cm

Palace of Justice, with Fine Carved Chimney, Bruges, Print made by William Wallis, 1794– active 1830, after Thomas Allom, 1804–1872, British, Published by Fisher, Son & Co., active 1821–1848, British, ca. 1830, Etching and line

A View of St. James's Gate from Cleveland Row, Edward Rooker, 1724–1774, British, after Paul Sandby RA, 1731–1809, British, 1777, 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,

Mary Queen of Scots Arrested, Print made by William Walker, 1729–1793, British, Print made by John Walker, active 1792–1803, after Mather Brown, 1761–1831, American, active in Britain, Published by J. Stratford, active 1792–1813,

Troilus and Cressida, Act 4, Scene II, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Henry Tresham, 1751–1814, British, 1794, Engraving

Young's Night Thoughts, Page 15, 'The Longest Night Though Longer Far, Would Fail', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Colchester, Essex, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (early

Edinburgh from Blackford, 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

Winander-Mere, Westmoreland, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

Plate 13 (page 23): 'We censure nature for a span too short', Engravings by William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Farne Island - Shipwreck, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1853-1874, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with

Concert Ticket, Mary's Chappel, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly textured, cream wove paper

Windsor Castle, Berkshire, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 1/2 × 14

Lulworth Cove, Dorset, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1812-1812, Line engraving and etching, engraver's proof on thick, slightly textured, cream, wove paper, with

Excellmæ. Illmæ. Dominæ Catherinæ Howard, Excellmi Ducis Liouxiæ, Hæredis Coniugis Delectissimæ Vera Effigies., Adrian Lommelin, c. 1637–1677, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34;

Remains of Canonbury, Islington, James S. Storer, 1771–1853, British, after James S. Storer, 1771–1853, British, 1804, Engraving, Sheet: 7 7/8 x 9 13/16in. (20 x 24.9cm

Richard Wynne, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

For the Sexes: The Gates of Paradise, Plate 1, Title Page, 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:

Henry Stafford, Duke of Buckingham, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1747, Line engraving on medium, slightly textured, cream laid paper

Part of Audley House, Dukes Place, Samuel Rawle, 1771–1860, British, after Samuel Rawle, 1771–1860, British, 1802, Etching and line engraving on slightly textured, medium, white wove paper, Sheet: 5 1/4 × 7 13/16 inches (13.3 × 19.8

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

Marriage A-La-Mode, Plate IV: The Toilet Scene, Simon Francois Ravenet, 1721–1774, French, active in Britain, after William Hogarth, 1697–1764, British, 1745, Engraving, Sheet: 13 7/8 x 17 5/8in. (35.2 x 44.8cm

The Complaint and the Consolation; or Night Thoughts, William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving, Spine: 16 3/4in. (42.5cm) and Sheet: 16 1/2 x 12 3/4in. (41.9 x 32.4cm

Plymouth, from Mount Batten, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1817, Engraving and etching on moderately thick, slightly textured, cream, laid paper, Sheet: 13 3/4 ×

Hardraw Fall, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1817, Etching and line engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 13 5/8 × 20 1/16

Gate of Calais, O the Roast Beef of Old England, Print made by William Radclyffe, 1780–1855, British, after William Hogarth, 1697–1764, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper

Nantes, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

The Castle in the Moon, James Gillray, 1757–1815, British, 1782, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Beaumaris, Isle of Anglesea, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving and etching, 3rd state on moderately thick, slgithly textured, cream, wove paper, Sheet: 10 5/8

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