Images at Librifly

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Plate 6 (page 10): 'Disease invades the chastest temperence', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Heysham and Cumberland Mountain, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Open etching and line engraving on medium, slightly textured, cream, laid paper, Sheet: 8 3/16 × 11

Chelsea Pensioners, John Burnet, 1784–1868, British, after Sir David Wilkie, 1785–1841, British, 1831, Engraving, Sheet: 21 1/2 x 30 1/2in. (54.6 x 77.5cm

Boulevards, Paris, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving on Not signed

Tottenham High-Cross, George Cooke, 1781–1834, British, after George Cooke, 1781–1834, British, 1827, Engraving

Diana and Cupids, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, ( Varana ), undated, Engraving

Dover Castle, Henry Hulsberg, died 1729, Netherlandish, active in London, after Isaac Sailmaker, ca. 1633–1721, Dutch, active in Britain (from the 1640s), Published by Henry Overton, 1675/6–1751, British, undated, Line engraving with

The Riot in Broad Street on the Seventh of June 1780, James Heath, 1757–1834, British, after Francis Wheatley, 1747–1801, British, 1790, Colored engraving, Sheet: 18 1/2 x 24 1/4in. (47 x 61.6cm

Part of the Ghaunt at Hurdwar, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof

Part of Waterloo Bridge with the Shot Tower, &c., Print made by George Cooke, 1781–1834, British, after Clarkson Stanfield, 1793–1867, British, Published by Longman, active 1804–1914, British, 1832, Etching and line engraving on

Venice from the Canal of the Giudecca, Edward P. Brandard, 1819–1898, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

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

A View of Foots-Cray Place in Kent, the Seat of Bourchier Cleeve Esq., William Woollett, 1735–1785, British, after William Woollett, 1735–1785, British, 1760, Engraving on laid paper, Sheet: 14 9/16 x 21 3/16in. (37 x 53.8cm

Robert Rich, Earl of Warwick, Jacobus Houbraken, 1698–1780, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1747, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

An Exact Representation of the Boarding and Taking the Cleopatra French Frigate, Print made by J. Pass, active 1796–1800, undated, Line engraving on medium, slightly textured, cream wove paper

South View of London Street, Dockhead, William Wise, Active 1823–1876, British, after Robert Bremmel Schnebbelie, active 1803–1849, 1813, Engraving on smooth, moderately thick, cream wove paper, Sheet: 11 5/8 × 9 11/16 inches (29.5 ×

Primum Tenplum Iovis in Capitolio, Print made by Agostino Veneziano, active 1509–1536, Italian, Published by Antonio Salamanca, ca. 1500–1562, Spanish, Published by Antonio Lafreri, 1512–1577, French, between 1514 and 1536, Line

A Hurricane in the Desert, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, Sheet:

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

Alan Ramsay Scotus, Print made by David Allan, 1744–1796, British, born in Scotland, after Allan Ramsay, 1686–1758, British, Published by Watt & Baillie, active 1808, British, 1808, Aquatint, stipple engraving, and etching on

Young's Night Thoughts, Page 43, 'Night the Third, Narcissa.', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine: 16 3/4

Mill on Wimbledon Common, Print made by George Cooke, 1781–1834, British, Published by Longman, active 1804–1914, British, 1828, Etching and line engraving on moderately thick, slightly textured, cream wove paper

Junction of the Greta and the Tees, Print made by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; early, touched engraver's proof on medium, slightly textured, cream wove

The Last Sleep, James Smetham, 1821–1889, British, 1860, Etching and engraving, Sheet: 2 x 4 1/2in. (5.1 x 11.4cm

Bemerside Tower, Print made by John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Porticus Templi Iulii Columnae Tres, Print made by unknown artist, sixteenth century, Published by Antonio Lafreri, 1512–1577, French, 1550, Line engraving on medium, slightly textured, cream laid paper, Sheet: 13 1/2 × 9 1/4 inches

Design for an Engraving: Figures in an Interior, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Graphite and red chalk, incised for transfer on medium, slightly textured, beige laid paper mounted on

New Weir on the Wye, Print made by Frederick Christian Lewis the Elder, 1779–1856, British, after Joseph Mallord William Turner, 1775–1851, British, 1825, Etching and line engraving, with hand coloring and watercolor

Rouen on the Seine, Print made by Samuel Bradshaw, 1830–1869, British, drawn by Thomas Allom, 1804–1872, British, 1845, Line engraving on medium, slightly textured, cream wove paper

York House. The South and West Fronts as seen from the Garden, John Le Keux, 1783–1846, British, after Benjamin Dean Wyatt, 1775–1850, British, And: Philip William Wyatt, 1777–1835, British, 1827, Engraving, Sheet: 10 x 8in. (25.4 x

As You Like It: Act II, Scene VII: The Seven Ages of Man (First Age), Peltro W. Tomkins, 1760–1840, British, after Robert Smirke, 1752–1845, British, 1801, Engraving

Saltash, Cornwall, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, with scraping out and touched with graphite ( Engraver's Proof

Illustrissmus Ambrosius Spinola, Marchio Sest I, 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

St. Agatha's Abbey, Easby, John Le Keux, 1783–1846, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Etching and line engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 15 × 21

Dryburgh, 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

Here Poor Boy, Print made by Charles Wilkin, 1750–1814, British, after Sir William Beechey, 1753–1839, British, 1796, Etching and stipple engraving on medium, slightly textured, cream laid paper, Sheet: 20 1/2 × 16 3/4 inches (52.1 ×

The Prophet Daniel, 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

Red Deer Fighting, Print made by W. R. Smith, active 1819–1851, after Francis Calcraft Turner, active 1782–1846, British, undated, Line engraving and etching on medium, slightly textured, cream wove paper

Robert Devereux, Earl of Essex, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Isaac Oliver, ca. 1565–1617, French, active in Britain, 1738, Line engraving on medium, slightly textured, cream laid paper

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: 7 x 4 1/2

Chateau de Nantes, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, engraver's proof

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

Château of Amboise, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with cream,

Sophia, Honour, and the Chambermaid, James Gillray, 1757–1815, British, Published by Thomas Macklin, active 1779–1793, British, 1780, Stipple engraving on moderately thick, slightly textured, beige laid paper, Sheet: 15 5/8 x 10 7/8

As You Like It: Act II, Scene VII: The Seven Ages Man (fifth age), Peter Simon, 1750–1810, after Robert Smirke, 1752–1845, British, 1801, Engraving

Steps of New London Bridge, St. Magnus, the Monument and Part of Old Bridge, Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1831, Hand colored engraving, Sheet: 14 9/16 x 12 1/2in. (37 x

Miss Eyre, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, Published by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99),

Stone Henge, Wiltshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1829, Line engraving, open etching, Stonehenge, Wiltshire

Chateau Gaillard, from the South, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Windsor Castle in the Reign of Queen Elizabeth, engraved for Gentleman's Magazine, Print made by John Swaine, 1775–1860, British, 1849, Line engraving on medium, slightly textured, cream wove paper, Sheet: 5 1/2 × 8 3/4 inches (14 × 22.2

The Duke of York's Column, John Woods, active 1836–1860, after John Salmon, 1808–1886, British, 1840, Engraving

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

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

The Royal Joke or Black Jacks Delight, James Gillray, 1757–1815, British, 1788, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

The Kind Proroguing Parliament, Print made by Henry Melville, active 1826–1841, British, after Henry Melville, active 1826–1841, British, 1834, Line engraving on smooth, moderately thick, white wove paper, Sheet: 7 3/8 × 10 7/8 inches

Portrait of Fuseli, Print made by William Bromley, 1769–1842, British, after Johann Heinrich Lips, 1758–1817, Swiss, undated, Line engraving and stipple engraving on moderately thick, moderately textured, cream wove paper, Sheet: 15

A View of Hammersmith looking down the Thames, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1750, Engraving

The Rhine - Osterspey and Feltzen, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1852, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Christ Church College, Oxford, James Redway, active 1827–1838, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Carolus de Mallery, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Engraving

The Simplon, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof

Hythe, Kent, Print made by George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1824, Etching and line engraving; first published state india paper on medium, slightly textured, cream wove paper

Chateau Gaillard, From the South (Title page), John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving on steel

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

Aosta (vignette), Print made by Henry Le Keux, 1787–1868, 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

Thomas Cromwell, Earl of Essex, Jacobus Houbraken, 1698–1780, Dutch, 1739, Engraving, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm), DON'T USE: 18 1/2in. (47cm), and DON'T USE: 11 15/16in. (30.3cm

Ancient Italy - Ovid Banished from Rome, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving; engraver's proof (II, Moon's Impressions) on thick,

Hampton, Middlesex, unknown artist, nineteenth century, after unknown artist, 1809, Engraving

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

Palace of Whitehall, The Park Side, Tobias Muller, Died 1789, after Inigo Jones, 1573–1652, British, 1749, Engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 22 5/8 × 38 9/16 inches (57.5 × 97.9 cm) and Image:

Alessandro Leno: Cavaliere Della Stola d'Oro, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Loch Lomond, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, cream, wove paper, with gray chine colle, Sheet: 17 1/8 × 11 3/4 inches

For Children. The Gates of Paradise, Plate 5, 'Earth', Print made by William Blake, 1757–1827, British, 1793, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 5 1/2 inches (14 cm), Sheet: 5 3/8

'Anvil', George Stubbs, 1724–1806, British, after George Stubbs, 1724–1806, British, 1794, Hand colored stipple engraving, Sheet: 16 x 20in. (40.6 x 50.8cm

A Hurricane in the Desert, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with beige, chine colle, Sheet: 17

Mr. William Woollett, Historical Engraver to his Majesty, Caroline Watson, 1760–1814, British, after Gabriel Stuart, active 1780s–1790s, 1785, Stipple engraving, Plate: 8 5/8 x 6 1/2in. (21.9 x 16.5cm

Orlando rescues Olympia from the Orca in the Island Ebuda, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Annibale Carracci, 1560–1609, Italian, 1768, Engraving

Ticket: Lettered 'Sei canzonette a due composte da Giovanni Christiano Bach', Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Édouard Colbert, Marquis de Villacerf, Gerard Edelinck, 1640–1707, Flemish, after Pierre Mignard, 1612–1695, French, 1696, Line engraving and etching on moderately thick, moderately textured, cream laid paper, Sheet: 19 5/8 x 14 3/16

Plate 30 (page 63): 'This KING OF TERRORS is the PRINCE OF PEACE', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Young's Night Thoughts, Page 65, Night the Fourth, 'The Christian Triumph.', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Dulwich College, J. Rogers, active ca.1825–ca.1842, after Nathaniel Whittock, 1791–1860, British, 1829, Engraving

Sepulchrum C. Cesti Epulonis Ostiensi, Antonio Lafreri, 1512–1577, French, 1547, Line engraving on medium, slightly textured, cream laid paper

Plymouth, Devonshire, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 1st state on thick, smooth, cream, wove paper, with cream, chine colle, Sheet: 10 5/8

Orleans, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof (earlier

Doublûres of Characters; - or - Striking Resemblance in Phisiognomy, James Gillray, 1757–1815, British, Published by John Wright, ca. 1745–1820, 1798, Etching and stipple engraving, hand-colored on moderately thick, slightly textured,

View of London Hospital in White Chapel Road, Jean B. C. Chatelain, 1710–1771, French, And William Henry Toms, ca. 1700–ca. 1750, British, after William Bellers, active 1761–1774, 1753, Engraving

The Parliament House, from Old Palace Yard, Westminster, Print made by William Deeble, active 1814–1849, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1829, Line engraving on smooth, moderately thick, white wove paper,

Kidwelly Castle, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 3/4 ×

Young Ladies, Print made by Isaac Cruikshank, 1756–1810, British, after George Moutard Woodward, ca. 1760–1809, British, 1795, Etching and stipple engraving, hand-colored on moderately thick, slightly textured, beige wove paper,

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

Malvern Abbey and Gate, Worcestershire, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Richmond Hill and Bridge, Surrey, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

West Hill in Surry, the Seat of D. H. Rucker, Esquire, Print made by William Angus, 1752–1821, British, after Humphrey Repton, 1752–1818, British, 1810, Engraving

A View of Anchor Church (Derbyshire), Print made by Francois Vivares, 1709–1780, French, after Thomas Smith of Derby, ca. 1720–1767, British, 1745, Colored engraving, Sheet: 14 1/8 x 20 3/4in. (35.9 x 52.7cm

Hermaphrodite, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1787, Engraving

Telemachus relating his Adventures to Calypso, Edward Scriven, 1775–1841, British, And Thomas Williamson, active 1802, after Richard Westall, 1765–1836, British, 1810, Engraving on moderately thick, moderately textured, cream, laid

Sir Edward Coke, Lord Chief Justice, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1741, Line engraving on medium, slightly textured, cream laid paper

Plate 29 (page 57): 'Trembling each gulp, lest death should snatch the bowl', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Anthonius Bourbonius, Comes Moretanus, et Abbas St Stephani Caentini Filius Naturalis Henrici Magni et Jacquelinæ Bueilanæ Comitissæ Moretanæ, Pierre de Bailliu the edlder, 1613–after 1660, Flemish, after Sir Anthony Van Dyck,

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