Images at Librifly

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Ticket: Walker's Lectures, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1794, Line engraving on medium, slightly textured, cream laid paper,

St. Florent, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving and etching

Clairmont, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Galileo's Villa, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Sir Francis Bacon, 1st Viscount St. Alban, unknown artist, after unknown artist, 1627, Engraving on medium, moderately textured, cream, laid paper, mouned on, medium, moderately textured, blue, wove paper, Sheet: 7 1/16 × 4 1/4 inches

Oliver Asking for More, Print made by George Cruikshank, 1792–1878, British, 1837, Line engraving on medium, slightly textured, cream wove paper

Ticket to Concert of Ancient Vocal and Instrumental Music, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Nathaniel Dance RA, 1735–1811, British, 1786, Line engraving with etching on

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

For Children. The Gates of Paradise, Plate 10, 'My Son! my Son!', 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),

No. 2 A Table of Heiroglyphics found at Axum, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1771-1789, Engraving

Dobson, 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 3/4 inches (18.4 x 14.6 cm), and

Billingsgate Ward and Bridge Ward Within, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving

S.W. View of St. Mary's Church, Bryanston Square, Philip Audinet, 1766–1837, British, after George Moore, active 1797–1840, 1826, Engraving, Sheet: 10 1/4 x 8 1/4in. (26 x 21cm

Paris from Pere-la-Chaise, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, ngraver's proof

Harlech Castle, North Wales, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Insula Tiberina, Print made by Ambrogio Brambilla, active ca. 1579–1599, Italian, Print made by Claudio Duchetti, died ca. 1585, French, Published by Giovanni Orlandi, active 1590–1640, Italian, Antonio Lafreri, 1512–1577, French,

Illustrations of the Book of Job, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Spine: 16 1/2 inches (41.9 cm) and Cover: 16 1/2 × 11 3/4 inches (41.9 × 29.8 cm

Holy Island, Northumberland, William Tombleson, ca.1795–1835, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

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

William Cavendish, Duke of Newcastle, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), Published by Lackington & Co., active 1746–1840s, British, 1836, Stipple engraving on moderately

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

The South East Prospect of the Temple Church, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving

Harborough Sands, James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1819-1826, Etching and engraving, 1st stte on moderately thick, slightly textured, cream, wove paper, with cream,

Untitled: Portrait of William Shakespeare, Jean Marie Delatre, 1746–1840, French, 1786, Etching and line engraving on laid paper, Sheet: 9 5/16 x 3 7/16in. (23.7 x 8.7cm

A Rake's Progress, Plate IV: Goes to Court, William Hogarth, 1697–1764, British, 1735, Line Engraving, Sheet: 12 3/8 x 15 1/4in. (31.4 x 38.7cm

The Southeast Prospect of the Church of St. Duncan, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1737, Engraving, Sheet: 11 x 11 15/16in. (27.9 x 30.3cm

Mr. Garrick in the Character of Richard III, William Hogarth, 1697–1764, British, And Charles Grignion, 1717–1810, British, 1746, Engraving, literary theme, portrait

Octavius Augustus Cæsar, William Blake, 1757–1827, British, Published by Robert John Thornton, 1768–1837, British, 1821, Etching and line engraving on medium, slightly textured, cream wove paper, Spine: 7 1/8 inches (18.1 cm), Sheet:

Sir Eyre Coote, Anthony Cardon, 1772–1813, Flemish, after William Lodder, active 1783–1804, 1805, Stipple engraving on thick, slightly textured, cream, wove paper, Sheet: 9 3/4 × 6 7/8 inches (24.8 × 17.5 cm) and Image: 4 1/2 × 3

Richmondshire Castle and Town, Print made by John Wykeham Archer, 1808–1864, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Line engraving, engraver's proof (touched) on moderately thic, slightly textured,

Miss Farren, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), and Charles Knight, 1743–c.1826, British, after Sir Thomas Lawrence, 1769–1830, British, Published by Bull & Jeffryes, active

St. Mawes, Cornwall, Print made by James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1814 to 1826, Etching and line engraving; first published state india paper on medium, slightly

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

The Valley in Which the Children of Israel, Were Encamped, Mount Sinai in the Distance, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving

Clarendon House, unknown artist, after unknown artist, 1798, Engraving

Richmond, Yorkshire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1819, Etching and line engraving on moderateely thick, slightlyt extured, cream, wove paper, with cream, chine colle,

Edward V. and The Duke of York, Smothered in the Tower, Print made by Anker Smith, 1759–1819, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1810, Etching and line engraving

Quilleboeuf, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Modern Italy, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving, with graphite and scraping out; engraver's proof (a) on thick, sightly textured,

Chepstow, Print made by James S. Storer, 1771–1853, British, after Joseph Mallord William Turner, 1775–1851, British, 1794, Line engraving on medium, slightly textured, cream wove paper, Sheet: 8 7/8 × 11 inches (22.5 × 27.9 cm),

Lansdowne House in Berkeley Square, Mayfair, J. Shury, active 1812, after John Preston Neale, 1771/80–1847, British, 1815, Engraving

George Anson, first Baron Anson, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Jan Wandelaar, 1698–1759, Dutch, 1751, Line engraving on medium, slightly textured, cream laid paper

Devonshire Place and Wimpole Street ..., George Barret Jr., 1767–1842, British, after Charles Reuben Ryley, 1752–1798, British, 1799, Engraving

A Waterfall, Edward Alfred Goodall, 1819–1908, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on moderatley thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17 1/8 × 11 13/16

Mannering, Hazlewood and Smugglers, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, engraver's proof

The Prince of Wales Brought before Edward IV, after the Battle of Tewkesbury, Print made by Anker Smith, 1759–1819, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1811,

South View of the Bloody Tower, unknown artist, after unknown artist, 1798, Engraving

Edgar's Tower at Worcester, Print made by M. Coote, active 1876, after unknown artist, Published by Alexander Hogg, active 1778–1824, British, before 1786, Line engraving and etching on medium, slightly textured, light blue laid paper,

The Penny Wedding, James Stewart, 1791–1863, British, after Sir David Wilkie, 1785–1841, British, 1832, Engraving, Sheet: 19 x 25 1/2in. (48.3 x 64.8cm

A. More, Print made by Robert Cooper, ca. 1800–1836, British, after Antonis Mor, 1517–1577, Flemish, 1826, Stipple engraving, line engraving, and etching on moderately thick, slightly textured, cream wove paper, Sheet: 5 11/16 x 4

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), between 1769 and 1787, Etching and

Tivoli, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper, Image: 3 1/8 x 3in. (7.9 x 7.6cm

France, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1807, Engraving

Brinkburn Priory, Northumberland, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, with scraping out and touched with graphite (Engraver's Proof a

Sevonyans and Herbert Tuer, Alexander Bannerman, ca. 1730–1780, 1762, Line engraving on medium, slightly textured, cream wove paper, Sheet: 12 x 9 1/4 inches (30.5 x 23.5 cm), Plate: 7 1/4 x 5 1/2 inches (18.4 x 14 cm), and Image: 6 1/2 x

Vol. 6, Plate XXXIX: The Story of St John as a Pilgrim, and King Edward the Confessor. Fragment of a Virtue Triumphant. An Ornamental Pattern Found in one of the Round Headed Windows Filled up in the Painted Chamber, Print made by unknown artist,

Pont-Neuf, Paris, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, open etching

Lulworth Cove, Dorset, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1811-1812, Etching and line engraving, second state on moderatley thick, slightly textured, cream wove paper,

Bemerside Tower (Vignette), 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

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 Marriage of Her Most Gracious Majesty Queen Victoria, Charles E. Wagstaff, 1808–, after Sir George Hayter, 1792–1871, British, 1844, stipple, engraving, line engraving, and etching on thick, slightly textured, cream, wove paper,

Waterloo Bridge, J. Shury, active 1812, after W. G. Moss, active 1815, c. 1820, Engraving, Sheet: 8 13/16 x 17 1/8in. (22.4 x 43.5cm

Abingdon from the Thames Navigation, Print made by William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, published by William Byrne, 1743–1805, British, 1805, Etching and line engraving

St. Malo, Print made by James Baylis Allen, 1803–1876, British, after Clarkson Stanfield, 1793–1867, British, Published by Henry Graves & Co., ca. 1812–1892, British, 1834, Line engraving on medium, slightly textured, cream wove

Sir George Hayter, Sir George Hayter, 1792–1871, British, after Sir George Hayter, 1792–1871, British, 1822, Etching and stipple engraving on thick, slightly textured, beige wove paper with beige chine collé, Sheet: 15 1/16 x 10 15/16

Dartmouth, Devon, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814, Etching and engraving, 2nd state on moderately thick, slightly textured, cream, wove paper, Sheet: 13 3/16

The Drachenfels, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with gray chine colle, Sheet: 11

A South View of the Church of St. Paneras in the County of Middlesex, unknown artist, eighteenth century, after unknown artist, undated, Engraving

The Desert of Sinai, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Etching and engraving, engraver's proof

Old Chairs to Mend, Print made by Giovanni Vendramini, 1769–1839, Italian, after Francis Wheatley, 1747–1801, British, 1795, Stipple engraving, printed in color, Plate: 16 5/8 x 12 3/4in. (42.2 x 32.4cm

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

Lady Smith and Her Children: George Henry, Louisa, and Charlotte, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1789, Stipple engraving and

Modern Italy, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving with graphite; engraver's proof (c), touched on thick, moderately textured, cream

The Boscawen and Sheerness Privateers, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1753, Etching and line engraving on moderately thick,

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

Solway Firth from Allonby, Cumberland, Print made by Edward Francis Finden, 1791–1857, British, after Anthony Vandyke Copley Fielding, 1787–1855, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper

The Butt, Shooting a Cherry, Print made by Herbert Bourne, ca. 1820–after 1885, British, after William Mulready, 1786–1863, Irish, ca. 1869, Etching, line engraving, and stipple engraving on medium, smooth, cream wove paper, Sheet:

Hanover Terrace, Regent's Park, Print made by George Cooke, 1781–1834, British, after William Harvey, 1796–1866, British, Published by Longman, active 1804–1914, British, 1827, Etching and line engraving on medium, slightly

Palace of Whitehall. The Charing Cross Side., Tobias Muller, Died 1789, after Inigo Jones, 1573–1652, British, 1749, Engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 22 1/2 × 38 1/2 inches (57.2 × 97.8 cm

Specimens of Beaver's Military Punishments, 1725, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1809, Etching and line engraving on medium,

A View of London and Westminster from One-Tree Hill in Greenwich Park, John Stevens, active 1745–1746, after Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), 1752, Engraving, Plate: 10 3/8 x 15 7/8in. (26.4 x 40.3cm)

Solomon, Ancestor of Christ, 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

Welgelegen: Vue Perspective de la Maison de Campagne nommee Welgelegen au Bois de Harlem, Appartenante a Mr. Henry Hope d'Amsterdam, Christian von Mechel, 1737–1817, Swiss, 1792, Engraving on slightly textured, thick, cream wove paper,

Wickham from the Marlow Road, William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, 1803-1810, Line engraving, published state (India

Francis Russell, second Earl of Bedford, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1740, Line engraving on medium, slightly textured, cream laid paper

Cleone, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1784, Mezzotint and line engraving on moderately thick,

Bridge of Meulan, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, touched with graphite (First Published State

D. I. de Pina Manique, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Domingos Antonio de Sequeira, 1768–1837, Portuguese, undated, Mezzotint, stipple engraving, and etching on medium,

Ben Johnson's Lock, John Phillipps Emslie, 1839–1913, British, after John Phillipps Emslie, 1839–1913, British, 1827, Engraving

Greenland Fishery, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1754, Etching and line engraving with hand coloring on moderately thick,

Plan of Lambeth Palace, Attributed to Thomas Cook, 1744–1818, British, after unknown artist, ( J. Reeves ), 1750, Engraving

The Riot in Broad Street on the Seventh of June 1780, Print made by James Heath, 1757–1834, British, after Francis Wheatley, 1747–1801, British, 1790, Engraving and etching, Plate: 19 x 24 7/8in. (48.3 x 63.2cm), cityscape, historical

A Country Blacksmith, Charles W. Sharpe, active 1858–1883, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Richmond Hill, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1826, Line engraving on medium, slightly textured, cream, wove paper, with beige, chine colle, Sheet: 7 5/16 × 9 1/2 inches

Old Charing Cross, unknown artist, eighteenth century, after unknown artist, 1792, Engraving, Sheet: 7 11/16in. (19.5cm

Girl Reading a Picture Book, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on moderately thick, slightly textured, cream wove paper mounted on

Bow Church, William Henry Toms, ca. 1700–ca. 1750, British, after unknown artist, c. 1740, Engraving, Sheet: 13 1/2 x 8 1/2in. (34.3 x 21.6cm

The Prophet Zachariah, 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

Tantallon Castle, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, first published state

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

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