Images at Librifly

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Young's Night Thoughts, Page 86, 'His hand the good man fastens on the skies', 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 Village Fair, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Blenheim, Oxfordshire, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

A View of the Chinese Pavillions and Boxes in Vauxhall Gardens, Thomas Bowles, ca. 1712–died 1753, British, after Samuel Wale RA, 1721–1786, British, after 1751, Etching and engraving, hand-colored, Sheet: 10 1/16 x 15 13/16in. (25.6 x

Prosperity, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1783, Engraving

Female Curiosity, 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, slightly textured,

D. Petrus Paulus Rubbens Eques, Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple engraving and line engraving on medium, slightly

Cupids and Diana Bathing, 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

Veue de St. James's Park pris de Rosamond's Pond, William Henry Toms, ca. 1700–ca. 1750, British, after Jean B. C. Chatelain, 1710–1771, French, 1745, Hand colored engraving

The North-West View of Lambeth-Palace in the County of Surrey, Nathaniel Buck, active 1727–1753, after Nathaniel Buck, active 1727–1753, 1737, Engraving

Ruins of the Crypt of St. Thomas on Old London Bridge, Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1832, Engraving, Sheet: 9 5/8 x 11 5/8in. (24.4 x 29.5cm

Florizel and Autolicus - 'Winter's Tale', Benjamin Duterreau, 1817–1827, after Henry William Bunbury, 1750–1811, British, 1794, Engraving and stipple engraving, Sheet: 16 1/2 x 19in. (41.9 x 48.3cm

Timon of Athens, John Hall, 1739–1797, British, after Nathaniel Dance RA, 1735–1811, British, 1803, Engraving, Sheet: 19 3/4 x 22 1/4in. (50.2 x 56.5cm

Plate X, Fowl Body, Lateral View, Print made after George Stubbs, 1724–1806, British, 1804, Line engraving on moderately thick, slightly textured, cream wove paper, Sheet: 26 3/4 × 20 inches (67.9 × 50.8 cm), Plate: 20 × 15 inches

Sir Walter Scott, after Sir Thomas Lawrence, 1769–1830, British, between 1871 and 1879, Line engraving and stipple engraving on medium, slightly textured, cream wove paper

A North View of a Villa at Grove Hill, Camberwell, Surrey, belonging to J.C. Lettsome M.D., unknown artist, eighteenth century, after unknown artist, ( Samuel ), 1795, Engraving, Sheet: 7 5/8 x 9 1/2in. (19.4 x 24.1cm

Book of Job, Plate 17, The Vision of Christ, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/8 × 10 7/8 inches (38.4 × 27.6 cm), Plate: 8 1/2 × 6 5/8 inches (21.6 ×

Anne (née Bermingham) Caulfield, Countess of Charlemont, Print made by John Samuel Agar, ca. 1773–1858, British, after Anne Mee, ca. 1760–1851, British, 1812, Stipple engraving on moderately thick, slightly textured, cream, wove

Lieutenant General, Henry Paget, the Earl of Uxbridge, Henry R. Cook, active 1802–1849, British, active in Britain and France, Eduard Strohling, German, 1768–after 1826, German, 1813, Stipple engraving on moderately thick, slightly

Dolphins playing the Pipes, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1783, Engraving

Henry Bennet, Earl of Arlington, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1739, Line engraving on medium, slightly textured, cream laid paper

Alinda, Print made by William Ward, 1766–1826, British, after William Ward, 1766–1826, British, Published by Torre & Co., active 1753–1776, Italian, active in Paris and London, 1787, Stipple engraving (2nd state) on moderately

London, Print made by John Neagle, 1796–1865, American, after Thomas Hosmer Shepherd, 1792–1864, British, 1828, Line engraving on medium, slightly textured, cream wove paper

Rabbits, 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, blued white wove paper, Sheet: 5

Loch Katrine, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; touched engraver's proof on medium, slightly textured, cream wove paper

Abraham Cooper, R.A., James Thomson, 1789–1850, British, after John Jackson, 1778–1831, British, 1827, Stipple engraving

The Gothic Bridge of Eudes, Tours, Print made by Henry Adlard, active 19th century, British, after Thomas Allom, 1804–1872, British, Published by Fisher, Son & Co., active 1821–1848, British, between 1824 and 1848, Line engraving on

St. Pancras Church, E. Stalker, active 1801–1823, American, after unknown artist, undated, Engraving, Sheet: 13 1/4 x 11 1/4in. (33.7 x 28.6cm

Ancient Italy, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

A North View of Westminster Bridge, Nathaniel Parr, active 1742–1751, British, after Charles Labelye, 1705–1781, British, 1751, Engraving, Sheet: 12 7/8 x 18 3/8in. (32.7 x 46.7cm

John Gower, Print made by George Vertue, 1684–1756, British, 1727, Line engraving on medium, slightly textured, cream laid paper

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

The Queen's Nursery, unknown artist, after unknown artist, 1800, Engraving

George Villiers, first Duke of Buckingham, Imitator of Renold Elstrack, 1570–1625(?), British, between 1700 and 1720, Line engraving on medium, slightly textured, beige laid paper, Sheet: 9 7/8 x 6 13/16 inches (25.1 x 17.3 cm), armed

Corfe Castle, Dorsetshire, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and engraving, 1st published state on moderately thick, moderately textured, cream, laid paper,

Barber Surgeon's Hall, from the Church yard of St. Giles, Cripplegate, unknown artist, after unknown artist, 1800, Engraving

Samuel Johnson with biography, William Holl, 1807–1871, British, after unknown artist, undated, Engraving, Sheet: 17 x 12in. (43.2 x 30.5cm

Mount St. Michael, Cornwall, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1838, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 × 15 1/8 inches

Sir David Baird, 1st Baronet, Anthony Cardon, 1772–1813, Flemish, after Archer James Oliver, 1774–1842, British, 1806, Engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 9 1/2 × 7 5/8 inches (24.1 × 19.4

Chateau de Tancarville with Town of Quilleboeuf, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

The Chapter House, St. Pauls, Remi Parr, active 1723–1750, British, OR Nathaniel Parr, active 1742–1751, British, after unknown artist, unknown, Engraving, Sheet: 7 3/8 x 10in. (18.7 x 25.4cm

Industry and Idleness, Plate VI, The Industrious 'Prentice out of His Time and Married to His Master's Daughter, Print made by William Henry Worthington, ca. 1790–active 1839, British, after William Hogarth, 1697–1764, British, Published

West Front of the Old Alms Houses founded by Elizabeth Viscountess Hamley, unknown artist, after unknown artist, 1834, Engraving

Queen Victoria, after George Baxter, 1804–1867, British, Print made by Bradshaw & Blacklock, active ca.1850, British, Published by Bradshaw & Blacklock, active ca.1850, British, ca. 1860, Aquatint, stipple engraving, etching, and

Elizabeth, Countess Grosvenor, Print made by Samuel Cousins, 1801–1887, British, after Sir Thomas Lawrence, 1769–1830, British, Published by Colnaghi Senr. Dominic Colnaghi & Co., established 1760, active ca. 1785–1911, Italian,

Alnwick Castle, Northumberland, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Young's Night Thoughts, Page 37, 'Love, and Love Only, Is the Loan for Love', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Regiae Anglicae Maiestatis Pictura Coloniae, Crispyn de Passe the Elder, ca. 1565–1637, Dutch, 1604, Engraving, Sheet: 6 7/8 x 5 5/16in. (17.5 x 13.5cm

Sunshine of Love, Print made by Samuel Cousins, 1801–1887, British, after Jean Raoux, 1677–1734, French, Published by Thomas Shotter Boys, 1803–1874, British, and Rittner & Goupil, 1827–1919, French, 1837, Mezzotint, stipple

Valombre, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 14

Bridge of St. Cloud & Sevres, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Scott's Birthplace, no. 39, Castle Street, Edinburgh, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving, engraver's proof

The South East Prospect of Westminster Bridge, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 17 1/4 x 23 3/4in. (43.8 x 60.3cm

Fulham Church, Simon Watts, active 1812, after unknown artist, ( D Smith ), 1812, Engraving

View of Richmond Hill and Palace, Richard Bernard Godfrey, 1728–op.1794, British, after David Vinckboons, 1576–c.1632, Flemish, 1774, Engraving

Roslin Castle, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

Harlech Castle, after W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 × 14 15/16

Garrick Reading the Ode at the Shakespeare Jubilee, Caroline Watson, 1760–1814, British, after Robert Edge Pine, 1730–1788, British, Published by John Boydell, 1720–1804, British, 1784, Stipple engraving and etching on moderately

Statue of Achilles in Hyde Park, Print made by Samuel Freeman, 1773–1857, British, after Thomas Hosmer Shepherd, 1792–1864, British, Published by Jones & Co., active 1822–1850, British, 1827, Stipple engraving and etching on

A Group of Peasants, One sleeping, on a River Bank, Francois Vivares, 1709–1780, French, after Franco Zuccarelli RA, 1702–1788, Italian, 1753, Engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 16 1/8 ×

Herstmonceux Castle, Sussex, John Greig, active 1800–1853, British, after Henry Gastineau, 1791–1876, British, 1815, Engraving, with graphite on smooth, medium, cream wove paper, Sheet: 3 3/4 × 6 1/4 inches (9.5 × 15.9 cm), Plate:

Falls of the Rhine, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, engraver's proof on moderately thick, slightly textured, beige, wove paper, with gray chine

A Plan of Streets and Roads, between Black Fryers Bridge, London Bridge, Westminster Bridge, Lambeth, Newington Butts, and St. Margarets Hill, unknown artist, after unknown artist, 1769, Engraving, Image: 10 1/16 x 13 15/16in. (25.6 x

John Taylor, Print made by R. Clamp, fl.1789–1798, after Sylvester Harding, (drawing), 1745–1809, British, after John Taylor, (painting), 1739–1838, British, Published by Francis Harding, active 1730–1766, British, and Sylvester

Daguerreotype View of Rhuddlan Castle, unknown artist, ( W. L. Sharp ), between 1850 and 1860, Etching and line engraving on thin, slightly textured, cream wove paper, Sheet: 4 1/4 × 5 inches (10.8 × 12.7 cm) and Image: 2 3/4 × 4 1/8 inches

Scene from the Tempest (VI), Caroline Watson, 1760–1814, British, after Francis Wheatley, 1747–1801, British, 1795, Stipple engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 24 3/4 × 18 7/8 inches (62.9 ×

A View of the Old Palace at Hampton Court from the Thames, James Basire, 1730–1802, British, after unknown artist, undated, Engraving

Stonyhurst, Lancashire, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Remains of Gibbon's Tennis Court as it appeared after the Fire of 1809, unknown artist, after unknown artist, 1811, Engraving

Tours, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Peter Vander Meulen, 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 1/4 x 5 1/4 inches (18.4 x 13.3

William Waynfleet, Bishop of Winchester, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1743, Line engraving on medium, slightly textured, cream laid paper

A Small Breeze, Print made by Thomas Boydell, active 1750–1751, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1753, Etching and line engraving with hand coloring on moderately thick,

View of St. James's Palace, James Neagle, 1760–1822, British, after Edward Dayes, 1763–1804, British, 1799, Engraving

A View of St. Edmund's Chapel, in the Church of East Dereham, Containing the Grave of William Cowper Esq., Print made by William Blake, 1757–1827, British, after Francis Stone, active 1804, British, Text by William Hayley, 1745–1820,

Vue Du Palais Royal Somerset du Cote de la Thamise, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

'Mr. John Farley' Cook at the London Tavern, Garnet Terry, active 1780–1796, after Thomas Hosmer Shepherd, 1792–1864, British, undated, Engraving on slightly textured, medium, white wove paper, Sheet: 6 5/8 × 4 5/16 inches (16.8 × 11

Skiddaw, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; touched engraver's proof on medium, slightly textured, cream wove paper

Thomas Sutton, Renold Elstrack, 1570–1625(?), British, Published by Compton Holland, active 1616–d.1621, British, between 1616 and 1621, Line engraving on medium, slightly textured, cream laid paper, Sheet: 9 x 6 inches (22.8 x 15.3

The Chain Pier, Brighton, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Clovelly Bay and Lundy Island, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1824, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper

The Happy Consultation or Modern Match, Print made by James Roberts, active 1766–1809, British, Published by Robert Sayer, 1725–1794, British, 1769, Engraving, Sheet: 8 1/2 x 13 1/8in. (21.6 x 33.3cm

Château of Amboise, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, first published state, Plate: 5 7/8 x 8 7/8in. (14.9 x 22.5cm) and Sheet: 11 1/2 x 16 5/8in.

A Vintage, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with cream, chine colle, Sheet: 17 1/8 × 11 7/8 inches (43.5 × 30.2

Canal of the Loire and Cher, near Tours, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Analysis of Beauty, Plate I, Print made by J. Barlow, active 1791, after William Hogarth, 1697–1764, British, Print made by John Boydell, 1720–1804, British, 1791, Etching and line engraving on medium, slightly textured, cream wove

Ticket for the Benefit of Mr. Borghi, 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 on

Henry More, Print made by William Faithorne, ca. 1620–1691, British, after William Faithorne, ca. 1620–1691, British, 1675, Line engraving and etching on moderately thick, smooth, beige laid paper, Sheet: 13 x 7 5/16 inches (33 x 18.6

Rev. William Cooper, James Heath, 1757–1834, British, after Robert Hancock, 1730–1817, British, undated, Stipple engraving with etching on moderately thick, slightly textured, beige laid paper, Sheet: 10 13/16 x 8 9/16 inches (27.5 x

Female Curiosity, 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, slightly textured,

Henry Fuseli Esqr., R. A., Thomas Holloway, 1748–1827, British, after Sir Thomas Lawrence, 1769–1830, British, 1796, Engraving

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

The King's Theatre, Haymarket, Bartholomew Howlett, 1767–1827, British, after Jacob C. Schnebbelie, 1760–1792, British, 1820, Engraving

Valley of the Brook Kedron, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, first state

Proscenium of the Opera House, Henry R. Cook, active 1802–1849, British, active in Britain and France, after George Jones, 1786–1869, British, 1816, Engraving

Nantes, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving on medium, slightly textured, beige, wove paper, Sheet: 8 5/16 × 5 1/8 inches (21.1 × 13 cm) and Image:

Sir Thomas More, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland and England, 1741, Line engraving on medium, slightly textured, cream laid paper

Lord Mayor's Table, Guildhall, Print made by John S. Shury, active 1818–1848, after Thomas Hosmer Shepherd, 1792–1864, British, 1844, Line engraving on medium, slightly textured, cream wove paper

Monument of Sir Andrew Judd in the Choir of St. Helen, Bishopsgate, James Stow, ca. 1770–after 1820, British, after unknown artist, ( Fisher ), 1825, Engraving, Sheet: 12 1/2 x 10 1/8in. (31.8 x 25.7cm

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

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