Images at Librifly

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Sir Thomas Lawrence, late President of the Royal Academy, James Thomson, 1789–1850, British, after Charles Landseer, 1799–1879, British, 1846, Engraving

Proposals for Engraving by Subscription, The Book of Common Prayer, John Sturt, 1658–1730, British, c.1720, Engraving, Sheet: 7 1/2 x 9in. (19.1 x 22.9cm

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), 1782, Etching and line engraving

Illustrations to Samuel Richardson's 'The Life of Pamela', illustrated by Joseph Highmore, Guillaume Philippe Benoist, 1725–ca. 1770, French, after Joseph Highmore, 1692–1780, British, 1762, Engraving, Plate: 11 3/4 x 14 13/16in. (29.8

Falstaff Examining His Recruits, Print made by Thomas Ryder, 1746–1810, Irish, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium,

Memorial on the Wall opposite the Choir, Wenceslaus Hollar, 1607–1677, Bohemian, after Wenceslaus Hollar, 1607–1677, Bohemian, 1656, Engraving

Royal Sport, Pit Ticket, William Hogarth, 1697–1764, British, 1759, Engraving, hand-colored, Sheet: 12 5/8 x 15 1/4in. (32.1 x 38.7cm

Reverend Hugh Blair, D.D., Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Henry Raeburn, 1756–1823, British, 1801, Engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 15

Franciscus Bartolozzi, Print made by Jacques Bouillard, 1744–1806, French, after Pierre N. Violet, 1749–1819, French, undated, Line engraving and etching on medium, moderately textured, beige laid paper, Sheet: 13 7/16 x 8 7/8 inches

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,

The Apotheosis of Nelson, Benjamin West, 1738–1820, American, active in Britain (from 1763), 1807, Oil on canvas, Support (PTG): 39 1/2 x 29 inches (100.3 x 73.7 cm), admiral, allegory, architectural subject, babies, cannon,

Jerboa, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Lowestoffe Lighthouse (vignette), James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, c.1830, Etching and engraving, Engraver's proof on thick, slightly textured, beige, wove paper,

Humphry Repton, Esq., Print made by George Cooke, 1781–1834, British, after Samuel Shelley, 1750–1808, British, 1820, Stipple engraving, etching, and line engraving on moderately thick, slightly textured, cream wove paper; page in

Deer Shooting, Print made by John Romney, 1786–1863, British, undated, Line engraving on medium, slightly textured, cream wove paper

Devonport and Dockyard, Devonshire, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, touched

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,

Illustrations for 'Gil Blas', plate IV, Print made by James Heath, 1757–1834, British, after Thomas Stothard, 1755–1834, British, 1781, Line engraving on medium, slightly textured, cream wove paper

Henry VI, Part III: Act I, Scene III, A Field of Battle betwixt Sandal Castle . . ., Print made by Charles Gauthier Playter, died 1809, after James Northcote, 1746–1831, British, 1793, Stipple engraving, etching, and aquatint on medium,

Portrait of a Man, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Virginia Water No. 1, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1832, Line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with cream, chine colle,

Cibber, Print made by Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 7/8 x 9 1/4 inches (30.2 x 23.5 cm), Plate: 7 1/2 x 5 1/2 inches (19.1 x 14

St. Sophia, Constantinople, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, third state on medium, slightly textured, beige, wove paper, Sheet: 6 1/2

Saint Denis, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

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

The Hospital of Bethlehem, Thomas Bowles, ca. 1712–died 1753, British, after John Maurer, active 1713–1761, 1747, Hand colored engraving

As You Like It: Act II, Scene I: Forest of Arden, Samuel Middiman, ca. 1750–1831, British, after William Hodges, 1744–1797, British, 1803, Engraving

Garrick's House at Hampton, William Bernard Cooke, 1778–1855, British, after Peter DeWint, 1784–1849, British, 1819, Engraving, architectural subject

Craigmillar Castle (Vignette), William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

At the Vatican, 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, British,

A View of Somerset House with St. Mary's Church in the Strand, London, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1753, Engraving

Sylvia, John Jones, ca. 1745–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1791, Stipple Engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 19 1/4 × 14 15/16 inches (48.9 × 37.9 cm),

Faith, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Johann Heinrich Ramberg, 1763–1840, German, active in Britain (1781–88), 1787, Engraving

O'Connor's Child (Vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Engraving

The School Girl, Print made by Henry Ryall, 1811–1867, British, undated, Engraving with handcoloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 7 11/16 × 5 1/8 inches (19.5 × 13 cm

Multifainham Abbey, in the County of Westmeath, Published by Alexander Hogg, active 1778–1824, British, 1786, Etching and line engraving on medium, slightly textured, cream laid paper

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

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

Analysis of Beauty, Plate II, 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,

Lambeth Palace, Edward Francis Finden, 1791–1857, British, after L. Stephens, active 1824–1829, 1826, Engraving

An Exact Representation of the Burning, Plundering, and Destruction of Newgate by the Rioters, Henry Roberts, c.1710–1790, after Jeffrey O'Neal, active 1763–1772, 1780, Hand colored engraving

Lambeth Palace in Surrey, the Seat of the Archbishop of Canterbury, William Angus, 1752–1821, British, after William Bernard Cooke, 1778–1855, British, 1797, Engraving

Antony Van Corlear Setting off for the Wars, Print made by Alfred William Warren, active 1791–1809, after Charles Robert Leslie, 1794–1859, British, 1823, 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 and graphite, engraver's proof (touched), on moderately thick, slightly textured, cream, wove paper,

William Shakspeare, Charles Picart, c.1780–1837, British, 1827, Stipple engraving and etching on wove paper, Sheet: 9 3/8 x 6 15/16in. (23.8 x 17.6cm

The Four Stages of Cruelty: Cruelty in Perfection (The Murderer), William Hogarth, 1697–1764, British, 1751, Engraving

A View in the Island of Jamaica, of Roaring River Estate, belonging to William Beckford Esq.r near Savannah la Marr, Print made by Thomas Vivares, c.1735–c.1790, British, after George Robertson, 1749–1788, British, Published by John

Canja Undersail, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Dartmouth, Devon, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814, Etching and engraving, 1st state on moderately thick, slightly textured, cream, wove paper, Sheet: 8 1/2 ×

Lyme Regis, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814, Etching and engraving on thick, moderately textured, cream, wove paper, Sheet: 11 3/8 × 14 5/8 inches (28.9 × 37.1

Interior of Sir Paul Pindar's, Bishopsgate, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1810, Engraving, Sheet: 14 3/4 x 12in. (37.5 x 30.5cm

A Plan of Part of Cheapside, unknown artist, nineteenth century, after unknown artist, 1809, Engraving, Sheet: 11 x 7 1/2in. (27.9 x 19.1cm

Oliver being Introduced to the Respectable Old Gentleman, Print made by George Cruikshank, 1792–1878, British, 1837, Line engraving on medium, slightly textured, cream wove paper

Calais, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, engraver's proof

Book of Job, Plate 16, The Fall of Satan, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 × 10 7/8 inches (38.1 × 27.6 cm), Plate: 7 7/8 × 6 1/2 inches (20 × 16.5 cm),

Scene on the Loire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Custom House, John Woods, active 1836–1860, after Hablot Knight Browne, 1815–1882, British, And Robert Garland, c. 1808–1863, 1831, Engraving, Sheet: 6 1/2 x 8 1/8in. (16.5 x 20.6cm

Belvoir Castle, Rutland, M. J. Starling, active 1830, after William Daniell, 1769–1837, British, Published by Edward Churton, active 1835, British, 1835, Line engraving and etching on moderately thick, slightly textured, cream wove

The Apotheosis of Princes Alfred and Octavius, Print made by Robert Strange, 1721–1792, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1786, Engraving and etching, Plate: 24 3/8 x 18in. (61.9 x 45.7cm

Shakespeare brought before Sir Thomas Lucy for the Deer Shooting, from 'The Eclectic', John Sartain, 1808–1897, American, after unknown artist, (A. Chisholme, 1792-1847), undated, Engraving

Male Nude Seated from Panel of 'God Separating the Waters...', 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

The Enraged Musician, Print made by Thomas Cook, 1744–1818, British, William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1806, Etching and line engraving on medium, slightly textured, cream wove

Shooting, Plate II, William Woollett, 1735–1785, British, after George Stubbs, 1724–1806, British, 1770, Engraving with etching, fifth state, Image: 15 1/2 x 20 13/16in. (39.4 x 52.9cm) and Plate: 17 1/2 x 21 7/8in. (44.5 x 55.6cm

George Villiers, first Duke of Buckingham, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Cornelius Johnson, 1593–1661, British, ca. 1745, Line engraving on medium, slightly textured, cream laid paper

One of Six Remarkable Views in the Provinces of New York, New Jersey and Pennsylvania from SCENOGRAPHI AMERICANA: A View of Bethlem, the Great Morovian Settlement in the Province of Pennsylvania., Paul Sandby RA, 1731–1809, British, after

The Royal College of Physicians, London, James S. Storer, 1771–1853, British, after C. John M. Whichelo, 1784–1865, British, 1804, Engraving

Isabella Clara Eugenia, Infanta of Spain, Renold Elstrack, 1570–1625(?), British, after Sir Peter Paul Rubens, 1577–1640, Flemish, Published by Compton Holland, active 1616–d.1621, British, between 1616 and 1621, Line engraving on

Jupiter and Juno on Mount Ida, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1784, Engraving

Richmond, Yorkshire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, Sheet: 10 1/16 × 14 3/8 inches

Horse-racing Set of six: 4. Subduing Shoeing, the Cavison and Pillar, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm

Lancelot Brown Esq., John Keyse Sherwin, c.1751–1790, British, after Nathaniel Dance RA, 1735–1811, British, c. 1769, Line and stipple engraving on medium, slightly textured, beige, laid paper, mounted on, moderately thick, slightly

A View of the Royal Hospital at Greenwich, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

A Macarony Alderman and His Rib, Print made by James Caldwall, 1739–1819, British, after Samuel Hieronymus Grimm, 1733–1794, Swiss, Published by Robert Sayer, 1725–1794, British, and John Smith of Cheapside, active ca. 1750–1789,

The West India Washer-Women, 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 engraving and

Florence from the Chiesa al Monte, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Etching and engraving on medium, smooth, cream, wove paper, with cream, chine colle, Sheet: 10 1/2

A View of the Royal Palace at Naples, Print made by unknown artist, (Dubois), Published by John Bowles, 1701–1779, British, undated, Etching and line engraving on medium, slightly textured, cream laid paper, laid on contemporary mount

St. Florent, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and line engraving, (Engraver's Proof a

The Primrose Seller, Two Bunches of Penny Primroses, Two Bunches a Penny..., Print made by Luigi Schiavonetti, 1765–1810, Italian, after Francis Wheatley, 1747–1801, British, 1793, Stipple engraving, printed in color, Plate: 16 1/8 x

D. Nicolaus Fabricius de Peirese, 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 and stipple engraving (2nd state) on

Venice, The Rialto - Moonlight, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17

The Bank, Bank Buildings, Royal Exchange, and Cornhill, Thomas Reeve, (?), active 1804, after Edward Pugh, (?), 1763–1813, British, 1804, Engraving

The Four Stages of Cruelty: The Reward of Cruelty (Anatomy Theatre), William Hogarth, 1697–1764, British, 1751, Engraving, Sheet: 14 x 11 3/4in. (35.6 x 29.8cm

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

Henry IV: Part II, Act II, Scene IV. 'Doll Tearsheet, Falstaff, Henry & Poins', William S. Leney, (and C. Leney ), 1769–1831, British, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1803, Engraving,

Interior of the Great Bay Window, or Recess in the Hall of Crosby Place, Bartholomew Howlett, 1767–1827, British, after Robert Bremmel Schnebbelie, active 1803–1849, 1819, Engraving, Sheet: 10 1/8 x 12 3/4in. (25.7 x 32.4cm

Lochmaben Castle, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

John Burnet, Author of 'Practical Hints on Painting', Charles Fox, 1749–1809, British, after Stephen Poyntz Denning, 1795–1864, British, Published by Moon, Boys & Graves, ca. 1812–1892, British, and Pieri Bénard, active ca.

Lancaster Sands, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (completed

Plate IV: representing the common Method of Beetling, Scutching and Hackling the Flax, William Hincks, 1752–1797, after William Hincks, 1752–1797, 1791, Stipple engraving

Maidenhead, Berkshire, Environs - West, James S. Storer, 1771–1853, British, after Joseph Powell, 1780–1834, British, 1805, Engraving

Miss Linwood, Peltro W. Tomkins, 1760–1840, British, 1806, Engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 20 3/8 × 16 3/16 inches (51.8 × 41.1 cm), Plate: 18 13/16 × 14 3/4 inches (47.8 × 37.5 cm), and

Smailholme Tower (Vignette), Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; late state on medium, slightly textured, cream wove paper

Cupid Disarmed by Venus, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Baverstock Knight, 1785–1859, British, after Correggio, ca. 1489/94–1534, Italian, Published by Rudolf

Tornaro, Robert Wallis, 1794–1878, 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 1/4 inches (29.5 × 15.9 cm) and

King Henry IV: Part I, Act III, Scene I, The Archdeacon of Bangor's House in Wales. Hotspur, Worcester, Mortimer, & Owen Glendower, Peter Simon, 1750–1810, after Richard Westall, 1765–1836, British, 1803, Engraving, Sheet: 15 3/4 x

Margate, Kent, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving and etching, 3rd state on moderately thick, smooth, beige, wove paper, Sheet: 10 7/8 × 15 inches (27.6

The Blessing of Abraham, John Alexander, active 1715–1752, British, after Raphael, Italian, 1483–1520, Italian, 1717, Etching and engraving, Sheet: 11 3/8 x 19 5/8in. (28.9 x 49.8cm

Long Barn, Kennington, Thomas Allen, active 1767–1772, British, after unknown artist, undated, Engraving

Witley Court in Worcestershire, the Seat of Lord Foley, Print made by William Angus, 1752–1821, British, after Edward Dayes, 1763–1804, British, Published by William Angus, 1752–1821, British, 1810, Etching and line engraving on

Part of Waterloo Bridge with the Shot Tower and Company, George Cooke, 1781–1834, British, after Clarkson Stanfield, 1793–1867, British, 1832, Engraving, Sheet: 10 1/8 x 6 7/8in. (25.7 x 17.5cm

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