Images at Librifly

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Sir Humphrey Davy, Print made by William Henry Worthington, ca. 1790–active 1839, British, after James Lonsdale, 1777–1839, British, 1827, Etching and line engraving on medium, slightly textured, cream laid paper, Sheet: 21 × 16 3/8

Nantes, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1837, Line engraving, engraver's proof, Sheet: 12 × 17 3/8 inches (30.5 × 44.1 cm), Plate: 6 1/16 × 8 9/16 inches (15.4 ×

The Representation of the Dealer of a Squardon of Spanish Ships, Daniel Lerpiniere, c.1745–1785, British, after Richard Paton, 1717–1791, British, 1782, Engraving, battle, fire, marine art, sails, ships, smoke

Gainsborough, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Gainsborough RA, 1727–1788, British, undated, Stipple engraving in black ink on moderately thick, moderatetly textured,

The Church of Santa Maria della Rotonda at Rome; It was the famous Pantheon of the Antients erected 30 years before the birth of our Saviour, Carington Bowles, 1724–1793, British, after unknown artist, (Seemond), undated, Hand-colored

Hubertus 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, Stipple engraving, line engraving and etching on medium,

Rome, from Monte Testaccio, John Byrne, 1796–1847, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Engraving and etching on medium, smooth, cream, wove paper, Sheet: 10 3/8 × 15 inches (26.4 × 38.1 cm),

Atalanta and Hippomanes, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Benedetto Luti, 1666–1724, Italian, 1763, Engraving

Skiddaw, Print made by William Miller, 1796–1882, 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

Jacobus Jordaens, Pictor Antuerpiæ, Humanarum Figurarum, in Majoribus, 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, Stipple

A View of Westminster taken from the Garden of Old Somerset House, Samuel Rawle, 1771–1860, British, after Thomas Sandby RA, 1721–1798, British, 1808, Engraving

Putney Bridge, James Walker, 1748–1808, British, after Edward Dayes, 1763–1804, British, 1796, Engraving

Durham Cathedral, S. Porter, active 1802, after Joseph Mallord William Turner, 1775–1851, British, 1802, Line engraving, published state, Durham, Durham Cathedral, England, United Kingdom

Harfleur, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and line engraving

Barking, Essex, Outer Suburb - East, James S. Storer, 1771–1853, British, after Samuel Prout, 1783–1852, British, 1804, Engraving

Quintinus Simons, 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 etching on medium, slightly textured, browned

Catherine of Aragon, Queen of King Henry VII, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland and England, 1744, Line engraving on medium, slightly

North East View of Parts of the Chapel and Granary of Leadenhall, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1812, Engraving

William Wilberforce Esqr., James Heath, 1757–1834, British, after John Russell, 1745–1806, British, 1807, Engraving, Sheet: 20 11/16 x 15 3/16 in. (52.5 x 38.5 cm

Male Nude from Panel of 'The Sacrifice of Noah', 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

Verona, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

June - Society at the Drawing Room, Print made by Adelaide Claxton, 1858–1905, British, undated, Wood-engraving, Sheet: 6 1/2 x 9 1/2in. (16.5 x 24.1cm), costume, drawing room, dress, genre subject, leisure, men, party, society,

Celeberrimus Vir Inigo Jones Præfectus Architecturæ Magnæ Brittaniæ Regis Etc., Robert van Voerst, 1597–1636, Dutch, active in Britain (from 1627), after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21;

Black-Friars Bridge, James Walker, 1748–1808, British, after Edward Dayes, 1763–1804, British, 1796, Engraving, Sheet: 6 15/16 x 8 7/8in. (17.6 x 22.5cm

Westminster Bridge, Print made by James Walker, 1748–1808, British, after Joseph Mallord William Turner, 1775–1851, British, 1797, Etching with line engraving on medium, slightly textured, cream wove paper, Sheet: 6 5/8 × 8 7/8 inches

Aske Hall, John Scott, 1774–1828, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching on medium, smooth, 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

The Wayside in Italy, Print made by Charles Rolls, 1800–active 1830, British, after William Penry, 1798?1885, British, ca. 1883, Etching, line engraving, and stipple engraving on moderately thick, smooth, cream, wove paper, Sheet: 15

Illustrations for 'Gil Blas', plate VII, Print made by Charles Grignion, 1717–1810, British, after Thomas Stothard, 1755–1834, British, 1781, Line engraving on medium, slightly textured, cream wove paper

Pope's Villa, Charles Heath, 1785–1848, British, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1811, Etching and engraving, engraver's proof

Embassy of Hyderbeck to Calcutta, Richard Earlom, 1743–1822, British, after Johan Joseph Zoffany RA, 1733–1810, German, active in Britain (from 1760), 1800, Stipple engraving and mezzotint on medium, slightly textured, cream laid

A Plan of Grove Hill, Camberwell, Surrey, Belonging to J.C. Letteome, M.D., unknown artist, (Edwards), after unknown artist, 1817, Stipple engraving, Sheet: 11 x 9 7/16in. (27.9 x 24cm

James Craggs the Elder, George Vertue, 1684–1756, British, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1728, Line and stipple engraving on moderately thick, moderately textured, cream, laid paper,

John, Lord Somers, Lord Chancellor, Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1745, Engraving; Proof before letters, with engraver's name and date only, Sheet:

Burlington House, Piccadilly, Richard Sawyer, active 1820–1830, after Leonard Knyff, 1650–1721, Dutch, active in Britain (by 1681), 1809, Engraving

Fragments & Parts of the Exterior of Henry the Seventh Chapel, Westminster Abbey, Print made by Thomas Sutherland, ca. 1785–1838, British, after Frederick Mackenzie, 1788–1854, British, 1811, Line engraving on smooth, medium, white

Chateau de Monas, Near Orange, France, Print made by James T. Willmore, 1800–1863, British, after James Duffield Harding, 1798–1863, British, Published by Fisher, Son & Co., active 1821–1848, British, 1836, Line engraving and

General Burgoyne Addressing the Indians at their War Feast in Canada, Print made by John Taylor, 1739–1838, British, 1804, Line engraving on medium, slightly textured, cream wove paper

The S. W. Prospect of the Parish of St. Catherine Cree in Leadenhall Street, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving, Sheet: 8 1/2 x 13 3/4in. (21.6 x 34.9cm

Blackfriar's Bridge, George Cooke, 1781–1834, British, after Samuel Prout, 1783–1852, British, 1827, Engraving, Sheet: 6 3/16 x 8 1/16in. (15.7 x 20.5cm

Newark Castle, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; touched engraver's proof on medium, slightly textured, cream wove paper with

Bow and Arrow Castle, Isle of Portland, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and line engraving on thick, slightly textured, cream, wove paper, Sheet:

Richmond, Yorkshire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving and etching, 1st state on moderately thick, slightly textured, cream, wove paper, with cream, chine

Phalaena Quernaria. Quercus Rubra (American Oak Beauty, Northern Red Oak), Plate 103 from James Edward Smith, the 'Natural History of the Rarer Lepidopterous Insects of Georgia', London, 1797, Print made by John Harris the elder, 1767–1832,

Fainasollis, Borbar and Fingal, James Parker, 1750–1805, British, after John James Barralet, 1747–1815, British, 1783, Line-engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 17 1/2 × 20 inches (44.5 ×

Racing: Sir Charles Sedley's Bay Gelding 'True Blue' / He won Two Subscription Plates for Hunters of 60 Guineas each at Nottingham ..., John Wood, 1728–1781, British, after James Seymour, 1702–1752, British, 1753, Engraving, Sheet: 15

Strafford House, St. James North Front, Edmund Turrell, active 1835–1860, British, after David Laing, 1774–1856, British, 1835, Engraving, Sheet: 6 x 9in. (15.2 x 22.9cm

Garden Gate, Thomas Morris, active 1771–1794, after unknown artist, undated, Engraving

Virgin and Child, Luigi Schiavonetti, 1765–1810, Italian, after Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1793, Engraving, Sheet: 7 1/16 x 6in. (18 x 15.2cm

The South View of the Abbey and Dormitory in Westminster, unknown artist, eighteenth century, after W. Courtenay, active 1795, British, 1758, Engraving

Hannibal passing the Alps (vignette), Print made by W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove

The Catholic College of Stonyhurst Lancashire, Samuel Middiman, ca. 1750–1831, British, after Thomas Stanton, Born 1750, c. 1830, Hand Colored engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 16 13/16 × 21

Young's Night Thoughts, Page 17, 'Night the Second, On Time, Death and Friendship.', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

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

The School of Homer, Scio, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof

An Etruscan Vase, Print made by Daniel Allen, active 1830s, British, after John Flaxman, 1755–1826, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Young's Night Thoughts, Page 86, 'His Hand the Good Man Fastens on the Skies', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Straits of Dover, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Weymouth, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1813, Etching and engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 11 9/16 × 16 7/8 inches

Perspective View of the New Public Offices in the Inner Court of Somerset House, John Goldar, 1729–1795, British, after unknown artist, 1785, Engraving

Young's Night Thoughts, Page 49, 'As if the sun could envy, check'd his beam', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

A View of the Rt. Hon. The Earl of Burlington's House at Chiswick, and part of the Town, J. Fougeron, active 1761, British, after unknown artist, ( P. Brookes ), 1750, Engraving

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

Ashby de la Zouch, Leicestershire, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, engraver's proof

Loch Leven Castle, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Engraving

Grenoble, from the Fortress, Print made by Samuel Bradshaw, 1830–1869, British, after Thomas Allom, 1804–1872, British, Published by Fisher, Son & Co., active 1821–1848, British, undated, Line engraving on medium, slightly

Approach to Royat, France, Print made by J. C. Varrall, active 1815–1827, James Duffield Harding, 1798–1863, British, Published by Fisher, Son & Co., active 1821–1848, British, 1838, Line engraving and etching on medium, slightly

Richard III, Print 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: 6 13/16 x 4 7/16

Henry Tresham, R. A., Print made by Samuel Freeman, 1773–1857, British, after John Opie, 1761–1807, British, 1809, Stipple engraving and etching on moderately thick, slightly textured, beige wove paper, Sheet: 11 1/8 x 7 1/2 inches

Pylades and Orestes, James Basire, 1769–1822, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1771, Engraving, Sheet: 18 x 22 1/4in. (45.7 x 56.5cm), city, columns, helmets, prisoners, religious

Dr. Johnson, Peltro W. Tomkins, 1760–1840, British, after unknown artist, undated, Engraving, Sheet: 8 1/4 x 5 1/8in. (21 x 13cm

Corfe Castle, Dorsetshire, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 8 1/2 × 11

Untitled Landscape with Church and River, Print made by W. R. Smith, active 1819–1851, after Robert Batty, 1789–1848, British, undated, Line engraving on medium, slightly textured, cream wove paper

Chateau Hamelin, Between Oudon and Ancenis, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving and etching on medium, smooth, cream, wove paper, Sheet: 7 × 10 5/8

Oriental Scenes, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Etching, stipple engraving and color woodcut on cream card mounted on beige card, Image: 2 3/4 x 6 13/16 inches (7 x 17.3 cm), Arabian camel, boys,

'Cries of London' Plate 8: 'Round & Sound Five pence a Pound Duke Cherries', Anthony Cardon, 1772–1813, Flemish, after Francis Wheatley, 1747–1801, British, 1795, Colored engraving with stipple, DON'T USE: 16 1/8 x 11 7/8in. (41 x

Marengo (vignette), Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with

The North West View of Hackney Church, James Roberts the Elder, 1725–1799, British, after Jean B. C. Chatelain, 1710–1771, French, 1750, Engraving

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

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

Elizabeth Carter, Caroline Watson, 1760–1814, British, after Sir Thomas Lawrence, 1769–1830, British, 1808, Stipple engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 13 3/16 × 10 5/16 inches (33.5 × 26.2

Honfleur, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Venice (vignettes), Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper, Sheet: 10

An Airing in Hyde Park, Thomas Gaugain, 1748–1812, French, after Edward Dayes, 1763–1804, British, 1796, Hand colored engraving, bonnets, crowd, dog (animal), fan (costume accessory), genre subject, hats, horses (animals), park

William Mason, Alfred William Warren, active 1791–1809, after John Thurston, 1744–1822, British, 1820, 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

Robert White, P. Vansomer, Isaac Becket, John Start and William Elder, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 8 1/8 x 6 1/8 inches (20.6 x

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

Paradise Lost, Book VI, Charles Heath, 1785–1848, British, after Richard Westall, 1765–1836, British, 1822, Engraving, Sheet: 8 x 11in. (20.3 x 27.9cm

Lord Fitzgibbon, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, 1790, Stipple engraving and etching in black ink on moderately thick, moderately

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

As You Like It: Act II, Scene VII: The Seven Ages Man (fourth age), John Ogborne the Elder, 1755–1795, British, after Robert Smirke, 1752–1845, British, 1801, Engraving

Greenwich Hospital, George Cooke, 1781–1834, British, after Clarkson Stanfield, 1793–1867, British, 1828, Engraving

Hamlet, Prince of Denmark: Act I, Scene iv, Platform before the Palace of Elsineur--Hamlet, Horatio, Marcellus and the Ghost, Robert Thew, 1758–1802, British, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779

Houses on the South Side of Leadenhall Street, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1796, Hand colored engraving

Map of the Parishes of St. Andrews, Holborn, St. Georges, St. James, St. Luke, St. Mary and The Charterhouse Liberty, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving

What You Will - Ce Qui Vous Plaira, 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: 23 3/16 ×

Vernon, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving

August, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1793, Engraving

Young's Night Thoughts, Page 92, 'When faith is virtue, reason makes it so', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

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