Images at Librifly

search results: Engraving clear search

The Chorus, after William Hogarth, 1697–1764, British, 1768, Etching and line engraving on medium, slightly textured, cream laid paper

Moonlight, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Peter Monamy, 1681–1749, British, Published by John Bowles, 1701–1779, British, 1745, Line engraving and etching on moderately thick,

Abbotsford, Print made by Henry Le Keux, 1787–1868, 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

Loch Coriskin, Print made by Henry Le Keux, 1787–1868, 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

Hebiborough Sands, James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, c.1830, Etching and engraving on thick, slightly textured, beige, wove paper, Sheet: 17 3/4 × 12 3/8 inches (45.1

Bacchus and Ariadne, Charles Cousen, 1813?–1889, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Henry V, Renold Elstrack, 1570–1625(?), British, Published by Compton Holland, active 1616–d.1621, British, 1618 or 1628, Line engraving on medium, slightly textured, beige laid paper, laid on mount, Sheet: 6 3/4 x 4 5/16 inches (17.1

Albertus, Princeps. Com. aremberg, Princ. Barbanson. Com. Aigremontan. et Rup. in Ardenn. Vicecom. Davens. Par. Hannon. et Civit Leod. et Monti, in Hannon. Advocat, Perpet. Aur. Vell. Eq. Etc., Schelte A. Bolswert, 1586–1659, Dutch, after

The Castle of St. Angelo, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, moderately textured, beige, wove paper, with gray chine

Palamedes Palamedessen, 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 and stipple engraving on medium, slightly textured,

Dutch Boats in a Gale, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Valley of the Dhoon, W. Floyd, active 1845, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof

Arena of Astley's Amphiteatre, Surrey Road, William Wise, Active 1823–1876, British, after George Jones, 1786–1869, British, 1815, Engraving

A Lecture on Gadding, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Raphael Smith, 1752–1812, British, Published by John Raphael Smith, 1752–1812, British, 1789, Etching,

Sinai's Thunder, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof, Plate: 11 9/16 x 6in. (29.4 x 15.3cm

Childe Harold's Pilgrimage, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel 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 Rhine - Osterspey and Feltzen, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1854, Line engraving on medium, slightly textured, cream wove paper

The Hospital at Greenwich, unknown artist, after unknown artist, 1755, Engraving

West Hill in Surrey, the Seat of D. H. Rucker Esqr., Print made by William Angus, 1752–1821, British, after Humphrey Repton, 1752–1818, British, Published by William Angus, 1752–1821, British, 1810, Etching and line engraving on

Battersea Bridge, from Cheyne Walk, Chelsea, Print made by Charles Heath, 1785–1848, British, after Peter DeWint, 1784–1849, British, 1825, Line engraving on medium, slightly textured, cream wove paper

Poets Corner, Westminster Abbey, James S. Storer, 1771–1853, British, after C. John M. Whichelo, 1784–1865, British, 1805, Engraving

Male Nude Seated from Panel of 'Creation of Eve', 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

Bridges of St. Cloud and Seures, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, third state

Portrait of Queen Elizabeth I, Attributed to Crispyn de Passe the Elder, ca. 1565–1637, Dutch, 1596, Engraving, Sheet: 16 x 12 1/8in. (40.6 x 30.8cm

The College of Arms or Heralds Office, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving

George Morley Bishop of Winchester, Print made by George Vertue, 1684–1756, British, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1740, Line engraving on medium, slightly textured, cream laid paper

Death of Henry IV, Print made by William Bromley, 1769–1842, British, after Robert Smirke, 1752–1845, British, Published by Nuttall, Fisher & Dixon, active 1818, British, 1816, Etching and line engraving on thin, slightly textured,

3 Characters, 4 Caricaturas, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1807, Etching and line engraving on medium, slightly textured,

A Game at Cards, Print made by Florence Claxton, active 1855–1889, British, undated, Engraving, card game, fans, genre subject, leisure, men, mirror, party, playing cards, women

Maria Ruten, Nata in Scotia, Uxor Antonii van Dyck, Schelte A. Bolswert, 1586–1659, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple engraving and line

The West Front of St. Paul's Convent Garden, Edward Rooker, 1724–1774, British, after Paul Sandby RA, 1731–1809, British, 1777, Engraving

Dinner Given to the Kentish Volunteers (at the Mote, Maidstone), William Alexander, 1767–1816, British, c. 1800, Aquatint engraving, dinner, feast, food, meal

Excelsior, 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, cream wove paper, Sheet: 7 5/16

King Henry the VII Chapel, unknown artist, ( T. Dale ), after John Coney, 1786–1833, British, 1819, Engraving

Denmark Place, Camberwell, unknown artist, nineteenth century, after unknown artist, 1848, Engraving, Sheet: 3 3/4 x 4 3/8in. (9.5 x 11.1cm

Lo corse ad abbracciare, e a targli festa, / Trattasi la celata ch'avea in testa, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain

Inverness, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

Mrs. Siddons in the Character of the Tragic-Muse, Francis Haward, 1759–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1787, Engraving and stipple engraving, Sheet: 24 3/4 x 18in. (62.9 x 45.7cm

William Cobbett, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Raphael Smith, 1752–1812, British, Published by Colnaghi & Co., established 1760, active ca. 1785–1911, Italian,

Carton House in the Almonry, Westminster, George Cooke, 1781–1834, British, after Samuel Prout, 1783–1852, British, 1827, Engraving

View of the Garden &c. at Carlton House, unknown artist, after unknown artist, 1799, Engraving, Sheet: 5 3/4 x 8in. (14.6 x 20.3cm

John Mabuse, 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 3/8 x 5 3/4 inches (18.7 x 14.6 cm),

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

Philippus Heribertus Comes de Penbroke et Mongomery, Baro de Cardiffe et Shirland..., Robert van Voerst, 1597–1636, Dutch, active in Britain (from 1627), after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21;

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

Plan of the Tower of London MDCCXXVI, James Basire, 1769–1822, British, after C. Lampriere, 1815, Engraving

Rouen, looking up the river, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Richmond Hill, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1826-1832, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper, with

Mercury and Herse, Print made by John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving; engraver's proof on thick, moderately textured, cream wove paper with cream

Poplar Chapel, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1799, Engraving

West inside view of the Chapel of St. Thomas within London Bridge, unknown artist, eighteenth century, after George Vertue, 1684–1756, British, 1747, Engraving, Sheet: 10 3/4 x 18 3/16in. (27.3 x 46.2cm

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

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

Crook of the Lune, Looking Towards Hornby Castle, Print made by John Wykeham Archer, 1808–1864, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching on moderately thick, slightly textured,

The Front of Northumberland House, next the Strand, Richard Sawyer, active 1820–1830, after John June, active 1740–1770, 1809, Engraving, Sheet: 10 x 12 7/16in. (25.4 x 31.6cm

Bewdley in Worcestershire, Print made by Francis Chesham, 1749–1806, British, after Paul Sandby RA, 1731–1809, British, Published by George Kearsley, 1758–1813, British, 1779, Line engraving and etching on medium, slightly textured,

Young's Night Thoughts, Page 55, 'Ungrateful, Shall We Grieve Their Hovering Shades', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

The Four Times of Day, Plate II: Noon, William Hogarth, 1697–1764, British, 1738, Etching and engraving, second state, Sheet: 19 3/8 x 16 1/16in. (49.2 x 40.8cm

Defeat of the French Army at Landrecies by the British Light Horse & Dragoon Guards, Print made by J. Barlow, active 1791, 1794, Line engraving on medium, slightly textured, cream wove paper

An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: The North Front of the Monument of King Schert (Plate IV), James Basire, 1769–1822, British, William Blake, 1757–1827, British, Attributed to Sir

Here's Dada Coming. My Pretty Dada. Shoulder Arms. What Pretty Things., Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, stipple engraving, etching and color woodcut on moderately thick, smooth, cream wove

Henry Pelham Fiennes Pelham-Clinton, fifth Duke of Newcastle-under-Lyne, Print made by Frederick Christian Lewis the Elder, 1779–1856, British, after George Richmond, 1809–1896, British, 1841, Stipple engraving on medium, slightly

Hohenlinden, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

Jonathan Shipley, Bishop of St. Asaph, Thomas Trotter, ca. 1750–1803, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1792, Line engraving on medium, slightly textured, cream, wove paper, Sheet: 8 7/8 × 6 3/8 inches (22.5

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

View of the Siene between Mantes and Vernon, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

William Shakespeare, Print made by George Vertue, 1684–1756, British, 1719, Line engraving on medium, slightly textured, cream laid paper

Richmond from Twickenham Park, Charles Heath, 1785–1848, British, after Thomas Hofland, 1777–1843, British, c. 1822, Colored engraving, Sheet: 17 1/4 x 23 5/8in. (43.8 x 60cm

Palace of Justice, Rouen, after Thomas Allom, 1804–1872, British, 1840, Line engraving on medium, slightly textured, cream wove paper

Battle of the Baltic, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

Ironmonger's Hall with a View of Fenchurch Street, Thomas Bowles, ca. 1712–died 1753, British, after John Donowell, active 1753–1786, 1753, Engraving

Rouen, looking down the river, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Frost and Snow, 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, cream wove paper, Sheet: 8

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

Ludlow Castle, Shropshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Suspension Bridge at Hammersmith, George Cooke, 1781–1834, British, after James Duffield Harding, 1798–1863, British, 1827, Engraving

Falstaff's Escape - 'The Merry Wives of Windsor, ' Act IV, Scene II, John Chapman, active ca. 1792–1823, British, after Henry William Bunbury, 1750–1811, British, 1792, Engraving and stipple engraving, Sheet: 17 x 20in. (43.2 x 50.8cm

Miss Anna Crouch, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after George Romney, 1734–1802, British, 1788, Mezzotint, stipple engraving, and etching on medium, moderately textured,

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,

London - Blackfriars Bridge, St. Pauls, Print made by Charles Pye, 1777–1864, British, after Daniel Turner, active 1782–1805, British, (formerly) after Joseph Mallord William Turner, 1775–1851, British, undated, Line engraving

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

His Excellency Thomas Earl of Strafford, George Vertue, 1684–1756, British, with Andrew Johnston, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1714, Engraving on medium, slightly textured, cream, laid

Grosvenor House at Walthamstow, Essex, Outer Suburb - East, unknown artist, after unknown artist, 1792, Engraving

A South-East View of the City of Boston in North America, J. Carwitham, active 1720–1740, after unknown artist, undated, Hand-colored engraving, boats, churches, cityscape, marine art, sails, sea, ships, Boston, Massachusetts,

Socrates, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1780, Engraving

St. Maurice (vignette), Print made by Robert Wallis, 1794–1878, 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:

Richmond, Michael van der Gucht, 1660–1725, Flemish, after unknown artist, undated, Engraving

Dr. Joseph Warton, Anthony Cardon, 1772–1813, Flemish, after Sir Joshua Reynolds RA, 1723–1792, British, undated, Stipple engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 11 1/8 × 8 13/16 inches (28.3 ×

The Campagna of Rome, 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

Evacuation of Malta, James Gillray, 1757–1815, British, 1803, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Venice - the Piazzetta, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1853-1874, Etching and line engraving; first published state on medium, slightly textured, cream wove

The Death Warrant Read to Mary Queen of Scots, Print made by John Corner, 1788–1825, after Mather Brown, 1761–1831, American, active in Britain, Published by J. Stratford, active 1792–1813, British, 1810, Etching and line engraving

A Geometrical View of the Grand Procession of the Scald Miserable Masons, Designed as they were Drawn up over against Somerset House, in the Strand, on the 27th April, Ano 1742, Guillaume Philippe Benoist, 1725–ca. 1770, French, after

Walton Bridge on Thames, Surrey, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

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

Pont-Neuf, Paris, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Edward Lord Thurlow, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1782, Stipple engraving, line engraving, and etching on moderately thick, moderatel

Crystal Palace, Print made by Florence Claxton, active 1855–1889, British, undated, Wood-engraving, Sheet: 6 1/2 x 9 3/4in. (16.5 x 24.8cm), genre subject, leisure, men, party, tea, women, Crystal Palace, England, Europe, London,

John Wilkes Esq., Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1800, Engraving

search results: Engraving clear search