Images at Librifly

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The Sportsman, Print made by John Browne, 1741–1801, British, after Gaspar Poussin, 1615–1675, French, after Joseph Farington, 1747–1821, British, Published by John Boydell, 1720–1804, British, 1775, Etching, line engraving,

A South View of the Falcon Tavern, William Wise, Active 1823–1876, British, after Frederick Nash, 1782–1856, British, 1811, Engraving

Leap-Frog, L. Truchy, 1721–1764, after Francis Hayman, 1707/8–1776, British, undated, Engraving and etching, re-issue of print originally published 1743-44, Plate: 10 x 14 1/2in. (25.4 x 36.8cm

The Mask, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Stipple engraving and line engraving on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17 1/16 × 11 7/8

The House at Chiswick in the County of Middlesex one of the Seats of the Rt. Hon. Charles Boyle, Johannes Kip, 1653–1722, Dutch, after Leonard Knyff, 1650–1721, Dutch, active in Britain (by 1681), c. 1715, Engraving, Sheet: 13 3/8 x 19

Bedford, Bedfordshire, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

A New and Correct Plan of Limestreet Ward, Benjamin Cole, 1697–1783, British, after unknown artist, 1755, Engraving

A South-West View of the City of New York in North America, J. Carwitham, active 1720–1740, unknown artist, undated, Hand-colored engraving on laid paper, boats, cityscape, flags, men, rowing, sea, New York, United States of America

Abbotsford (Vignette), Print made by Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1851 reprint, Line engraving; reprint on medium, slightly textured, cream wove paper

King Henry the Eighth: Act IV Scene II: Abbey of Leicester. Wolsey, Northumberland, and Attendants, Abbot of Leicester, etc., Robert Thew, 1758–1802, British, after Richard Westall, 1765–1836, British, 1798, Engraving, Sheet: 17 7/16

Holy Loch, Heart of Mid-Lothian, Print made by Edward Francis Finden, 1791–1857, British, after James Duffield Harding, 1798–1863, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Val Night's Scheme for Rebuilding London after the Fire (Sheet 11), unknown artist, after unknown artist, 1666, Engraving

Hamlet Winstanley, Print made by Alexander Bannerman, ca. 1730–1780, after Hamlet Winstanley, 1698–1756, British, undated, Etching and line engraving on medium, slightly textured, cream wove paper, Binding: 13 inches (33 cm), Sheet: 10

Vol. 6, Plate XXXIII: The Captivity of Jehoiachin King of Israel. Continuation of the Story, of the Captivity of the Jews, Print made by James Basire, 1769–1822, British, after Charles Alfred Stothard, 1786–1821, British, 1842, Hand

Procession of Queen Elizabeth in a Litter Borne by 6 Knights to the Marriage of Lord Herbert and Miss Anne Russell, at Blackfriars, June 16, 1600, Print made by George Scharf, 1820–1895, British, after George Vertue, 1684–1756, British,

Young's Night Thoughts, Page 4, 'What, though my soul fantastick measures trod', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Sir John Borlase Warren, James Stow, ca. 1770–after 1820, British, 1799, Stipple and line engraving, Sheet: 19 1/4 x 26 1/2in. (48.9 x 67.3cm

The Ceiling in the Banqueting House at Whitehall, Print made by Simon Gribelin, 1662–1733, French, active in Britain, after Sir Peter Paul Rubens, 1577–1640, Flemish, ca. 1720, Line engraving and etching on moderately thick, moderately

Saint Paul's School, Bartholomew Howlett, 1767–1827, British, after unknown artist, ( John Baker ), 1825, Engraving

Goldsmith's 'Deserted Village', Anker Smith, 1759–1819, British, after Francis Wheatley, 1747–1801, British, 1800, Engraving

Westminster Bridge, James Baylis Allen, 1803–1876, British, after Samuel Scott, 1701/2–1772, British, 1853, Engraving, Sheet: 8 x 12 3/8in. (20.3 x 31.4cm), England, Thames, United Kingdom, Westminster, Westminster bridge

Fonthill House, Wiltshire, William Angus, 1752–1821, British, after Joseph Mallord William Turner, 1775–1851, British, 1798-1810, Line engraving, published state

Orfordness, James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, ca. 1830, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, with cream, chine colle,

Llanthony, Monmouthshire, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving and stipple engraving, 2nd state on moderately thick, slightly textured, cream, wove

Morning, Print made by John Browne, 1741–1801, British, after John Browne, 1741–1801, British, Published by John Boydell, 1720–1804, British, Published by Josiah Boydell, 1752–1817, British, ca. 1797, Etching and line engraving

Guildhall, W. Shirt, active 1807, after T. Prattent, active 1751, 1805, Engraving

Long-ships Light House, Land's End, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, Sheet: 6 1/2 x 10in. (16.5 x 25.4cm

Henry VII, Attributed to Renold Elstrack, 1570–1625(?), British, Published by Compton Holland, active 1616–d.1621, British, 1618 or 1628, Line engraving on medium, slightly textured, cream laid paper, Sheet: 7 x 4 1/2 inches (17.8 x

Queen Victoria at the City Banquet, unknown artist, after unknown artist, 1837, Stipple engraving

Bridge of Meulan, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, with scraping out adn touched with graphite (Later Engraver's Proof

Four Subjects, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, etching, stipple engraving and color woodcut on moderately thick, smooth, cream wove paper, Image: 4 3/8 x 3 1/4 inches (11.1 x 8.3 cm),

Mr. Macklin and Mrs. Pope in the Characters of Shylock and Portia, William Nutter, 1754–1802, British, after John Boyne, ca. 1750–1810, British, Published by John Boyne, ca. 1750–1810, British, 1789, Stipple engraving, etching, and

Tantallon Castle, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving and etching on medium, slightly textured, beige, wove paper, Sheet: 9 1/8 × 11 3/4 inches (23.2 ×

Frontispiece to Volume II of a Book, Woman pointing to a Tablet on which is written 'Sanchos letters', Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

A General View of the Remains of Bermondsey Abbey, Surrey, Bartholomew Howlett, 1767–1827, British, after C. John M. Whichelo, 1784–1865, British, 1820, Engraving on smooth, moderately thick, cream wove paper, Sheet: 14 1/16 × 18 1/2

A View from One Tree Hill in Greenwich Park, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), 1746, Engraving

Captivity, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on medium, smooth, beige, wove paper, mounted on thick, slightly textured, cream,

Edinburgh - March of the Highlanders, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof

Hvbertvs vanden Eynden, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stiplle engraving, line engraving and etching on medium,

Chelsea River View, unknown artist, nineteenth century, after unknown artist, 1872, Engraving, Sheet: 5 5/8 x 7 5/8in. (14.3 x 19.4cm

Cornhill and Lombard Street from the Poultry, S. Lacey, active 1830s, after Thomas Hosmer Shepherd, 1792–1864, British, 1830, Engraving, Sheet: 6 5/8 x 5 1/4in. (16.8 x 13.3cm

South West View of the Remains of Eltham Palace, John Greig, active 1800–1853, British, after John Greig, active 1800–1853, British, 1804, Engraving

Cherub holding a Laurel Wreath, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1793, Engraving

Edinburgh from St. Anthony's Chapel, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

The Witch of En-Dor, William Sharp, 1749–1824, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1788, Engraving, armor, cave, religious and mythological subject, stones, witch

St. Catherine's Hill, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving and etching, 2nd state on thick, slightly textured, beige, wove paper, with cream, chine

Ticket to Westminster Abbey, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Robert Smirke, 1752–1845, British, before 1791, Engraving on medium, moderately textured, cream laid paper,

Wakefield, Print made by James Walker, 1748–1808, British, after Joseph Mallord William Turner, 1775–1851, British, 1798, Etching with line engraving on medium, slightly textured, cream wove paper, Sheet: 8 1/8 × 10 3/8 inches (20.6

Muscipula, Print made by John Jones, ca. 1745–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1786, Stipple, etching and Engraving (first state) on moderately thick, moderately textured, cream, wove paper, Sheet: 18

Sir Richard Worse-than-sly, Exposing his Wifes Bottom; O Fye!, James Gillray, 1757–1815, British, 1782, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Barnard Castle, Durham, 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

Mirkwood Mere, Waiverly, Print made by Edward Francis Finden, 1791–1857, British, after George Barret RA, ca. 1728/32–1784, Irish, 1833, Etching and line engraving on medium, slightly textured, cream wove paper

Amboise, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Falls near the Source of Jumna, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof

Nobilissimus et Integerrimus Vir, D. Paulus Halmalius, Senator Ant., Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), undated, Line engraving,

St. Pancras Church, Middlesex, Charles Pye, 1777–1864, British, after John Preston Neale, 1771/80–1847, British, 1815, Engraving, Sheet: 5 1/4 x 6 3/8in. (13.3 x 16.2cm

Twickenham Park House in Middlesex, William Angus, 1752–1821, British, after William Angus, 1752–1821, British, 1795, Engraving

William Shakspeare. From the Monumental Effigy in the Church at Stratford upon Avon., William Finden, 1787–1852, British, after John Thurston, 1744–1822, British, 1820, Engraving on chine collé laid down on wove paper, Image: 3 7/8 x 3

The Death of the Great Wolf, James Gillray, 1757–1815, British, after James Gillray, 1757–1815, British, Published by Hannah Humphrey, ca. 1745–1818, British, 1795, Etching and stipple engraving, hand-colored on moderately thick,

Hare Hunting and Coursing: His Majesty's Harriers, Richard Woodman, 1784–1859, British, after Richard Barrett Davis, 1782–1854, British, 1815, Engraving, Sheet: 22 x 26in. (55.9 x 66cm

Captain James Cook, John Keyse Sherwin, c.1751–1790, British, after Nathaniel Dance RA, 1735–1811, British, 1784, Line engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 12 × 10 3/8 inches (30.5 × 26.4

Folkestone: Harbour, and Coast to Dover, Kent, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, 3rd state on medium, slightly ttextured, cream, wove paper, with gray

Loch Lomond, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, line engraving, 1st state on moderately thick, smooth, cream, wove paper, Sheet: 11 5/8 × 6 1/2 inches (29.5 × 16.5 cm)

Jedburgh Abbey, Print made by Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-coll

Gerardus Hontborst, 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 on medium, slightly textured, browned white, laid

Plate XXVII: St Stephen's Chapel, Looking East, Westminster, Print made by John Le Keux, 1783–1846, British, after Robert William Billings, 1813–1874, British, ca. 1836, Engraving proof on smooth, moderately thick, white wove paper,

View of the Inside of the Vestibulum, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1764, Etching and line engraving on moderately thick, slightly textured, cream laid paper

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

The North-East View of the Old Dormitory, in 1758; North-East View of the Remains of Part of the Crypt of the Old Dormitory, discovered in 1815; Plans and Elevations of the Remains, Print made by James Basire, 1769–1822, British, after W.

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

Frontispiece to Mr. Fawkes Catalogue, Frederick Christian Lewis the Elder, 1779–1856, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Soft-ground etching, and engraving on thin, smooth, beige, chine colle,

A View of the Mall, John June, active 1740–1770, after unknown artist, 1752, Hand colored engraving, Sheet: 12 3/8 x 18 1/2in. (31.4 x 47cm

Hornby Castle from Tatham Church, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving, stipple engraving and etching on moderately thick, slightly textured, cream,

The Painted Ceiling over the Picture of the Old Theatre in Aliff Street, James Stow, ca. 1770–after 1820, British, after William Capon, 1757–1827, British, And after William Oram, active ca. 1747, died 1777, British, 1820, Engraving

Queen Mary I, George Vertue, 1684–1756, British, after George Vertue, (drawing), 1684–1756, British, after Antonis Mor, 1517–1577, Flemish, 1732, Engraving

James Harris, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after George Romney, 1734–1802, British, 1776, Line engraving on moderately thick, moderately textured, cream laid paper, Sheet: 9 x 6 inches

Domestic Scene, Print made by William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1828, Line engraving on medium, slightly textured, cream wove paper

Tortoise, Print made by James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving, hand colored, animal art, tortoise

Young's Night Thoughts, Page 13, 'The Present Moment Terminates our Sight', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine:

Mrs. Lenox, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, Published by Edward Harding, 1755–1840, British, 1792, Etching and stipple

Johannes Potter, Archiepiscopus Cantuariensis, George Vertue, 1684–1756, British, after Thomas Gibson, c.1680–1751, British, 1741, Stipple engraving, line engraving and etching on moderately thick, moderately textured, beige, laid

The Place and Church of St. John de Lateran at Rome; 1. St. Johns Church. 2. the Palace Built by Sixtus the fifth. 3. The Holy Ladder. 4. Constantines Font. 5. Hospital for Men. 6. Do. for Women., Nathaniel Parr, active 1742–1751, British,

View in Cuper's Gardens, Lambeth, Bartholomew Howlett, 1767–1827, British, after unknown artist, ( Ravenhill ), 1825, Engraving

One of Seven Engraved Reproductions from 'Roger's Italy', M. H. Long, after Joseph Mallord William Turner, 1775–1851, British, 1884, Engraving

Part of the Old and New London Bridges, Print made by George Cooke, 1781–1834, British, after Edward William Cooke, 1811–1880, British, Published by Longman, active 1804–1914, British, 1833, Line engraving on medium, slightly

Binny, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1790, Engraving

High Force or Fall of the Tees, John Landseer, 1769–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving, printed on india paper, first published state on moderately thick, moderately textured,

Skiddaw, 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

Manor House, Clapham, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1798, Engraving, Sheet: 4 9/16 x 7 1/8in. (11.6 x 18.1cm

The Fall of Phaeton, James Gillray, 1757–1815, British, 1788, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

North, or inside, View of Traitor's Gate, unknown artist, after unknown artist, 1798, Engraving

The Moat Island, Francois Vivares, 1709–1780, French, after Thomas Sandby RA, 1721–1798, British, 1772, Hand colored engraving on thick, rough, cream, laid paper, Sheet: 16 5/8 × 25 inches (42.2 × 63.5 cm), Plate: 13 1/2 × 22 7/8

Banditti (vignette), Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; first published state on medium, slightly textured, cream wove paper

Fonrose, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John H. Benwell, 1762–1785, 1798, Line engraving

Gulielmus Hogarth, William Hogarth, 1697–1764, British, 1749, Engraving, Sheet: 15 1/16 x 11 3/8in. (38.3 x 28.9cm

'Cries of London' Plate 3: 'Sweet China Oranges, Sweet China', Luigi Schiavonetti, 1765–1810, Italian, after Francis Wheatley, 1747–1801, British, 1794, Colored engraving with stipple, DON'T USE: 16 x 12in. (40.6 x 30.5cm

Mannering, Hazlewood and Smugglers, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, published state

Peace: Burial at Sea, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, ca. 1859-1879, steel engraving

Young's Night Thoughts, Page 27, 'O Treacherous Conscience!', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine: 17 1/2 inches

The Duke of Manchester's, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1807, Engraving

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