Images at Librifly

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A Fishing Village, 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 medium, slightly textured, cream wove paper, Sheet: 8 9/16 x

Cologne, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1824, Etching and line engraving with graphite and white chalk; early engraver's proof, touched on medium, slightly

The Alms House in Great St. Helens, Maddocks, active 1825, after Robert Bremmel Schnebbelie, active 1803–1849, 1825, Engraving on slightly textured, moderately thick, white wove paper, Sheet: 13 1/4 × 10 1/2 inches (33.7 × 26.7 cm),

Lancaster Sands, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

An Inside View of the Rotundo in Ranelagh Gardens, Nathaniel Parr, active 1742–1751, British, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), 1794, Engraving

Death of the Fox, John Scott, 1774–1828, British, after Sawrey Gilpin, 1733–1807, British, 1811, Engraving, Sheet: 21 1/4 x 27in. (54 x 68.6cm

Cornelius Poelenbourch, Hollandus Pictor in Minoribus, Figuris Humanis, 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

Memorial to Seven Woodmason Children killed in a Fire 1779 - St. Peter upon Cornhill, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Charles Reuben Ryley, 1752–1798, British, 1825, Engraving

Sir Samuel Garth, M.D., Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1748, Engraving, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm), DON'T USE: 18 1/2in. (47cm), and

Young's Night Thoughts, Title Page, 'Night the First, on Life, Death and Immortality.', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Thomas Howard, Duke of Norfolk, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Antonis Mor, 1517–1577, Flemish, 1735, Line engraving on medium, slightly textured, cream laid paper

Design for an Engraving: Battle of Troy with the Trojan Horse, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Pen and brown ink, pen and black ink, red chalk, graphite, watercolor and gold leaf on

Bacchanalians, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1786, Engraving

Rievaulx Abbey, Yorkshire, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Plate 9 (page 15):' The longest night though longer far, would fail', Engravings by William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Paul Sandby, Print made by Richard Dagley, ca. 1765–1841, British, after Richard Cosway, 1742–1821, British, 1831, Stipple engraving and soft-ground etching on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/8 x 4 7/8

The Summit of Cader Idris Mountain, Edward Rooker, 1724–1774, British, and Michael 'Angelo' Rooker, 1746–1801, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1775, Line engraving and etching with

John Milton, Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1760, Engraving, Sheet: 7 3/16 x 10 15/16in. (18.3 x 27.8cm

Ashkoko, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving, hand colored

G. B. Cipriani, R.A., Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1785, Line engraving

Interior of the King's Bench Prison, Thomas Lord Busby, active 1804–1837, British, after C. John M. Whichelo, 1784–1865, British, 1812, Engraving

Havre, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on moderately thick, slightly textured, beige, wove paper, with cream, chine colle, Sheet: 5 7/8 × 9 3/8 inches

George Buchanan, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1742, Line engraving on medium, slightly textured, cream laid paper

View of St. John's Church from Broad Street, Print made by Edward Blore, 1789–1879, British, undated, Line engraving on medium, slightly textured, cream wove paper

Mrs. W. West as Cordelia, Print made by Thomas A. Woolnoth, 1785–1857, British, after Thomas C. Wageman, 1787–1863, British, 1820, Stipple engraving on medium cream slithtly textued wove paper, Overall: 6 3/8 × 3 3/4 inches (16.2 × 9.5

Amon, 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

For the Sexes: The Gates of Paradise, Plate 8, 'At length for hatching ripe he breaks the shell', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper,

Paestum (vignette), Print made by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; first published state 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,

Portraits Painted from Life, Representing Capt. Englefield with Eleven of his Crew Saving Themselves in the Pinnace, from the Wreck of the Centaur, of 74 Guns, Lost Sept. 1782, Print made by Thomas Gaugain, 1748–1812, French, after James

Geometrical Plan of his Majesty's Dockyard, Deptford, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Thomas Milton, active 1739–1756, British, shipping by John Cleveley the elder, ca. 1712–1777,

Cupid Wounded, Print made by Anthony Cardon, 1772–1813, Flemish, after Thomas Kirk, 1765–1797, Irish, Published by Antonio Poggi, active 1776–1781, Italian, 1801, Stipple engraving and etching on moderately thick, slightly textured,

Warwick Castle, Warwickshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state, architectural subject, bridge (built work), castle,

Brussels-distant view, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving

Norfolk Hospital, Edward Harding, (?), 1755–1840, British, after Charles Tomkins, 1757–1823, British, 1801, Engraving

Set of four: 3. Duck Shooting 'Plate 2', T. Simpson, active 1790–1814, after George Morland, 1763–1804, British, 1790, Color printed and hand colored stipple engraving, Sheet: 14 1/4 x 17in. (36.2 x 43.2cm

The Remaining Tower of Cardinal Wolsey's Palace at Esher in the Domain of John Spicer. Esq., Print made by George Cooke, 1781–1834, British, after William Havell, 1782–1857, British, active in India (1820–26), 1827, Line engraving on

Four Images on One Plate: Hatred, Love, Moderation, Fury, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1779, Engraving

The Houses of Parliament with the Royal Procession, Thompson, after Edward Pugh, 1763–1813, British, 1804, Hand colored engraving

Painting of Pharoah's Daughter and Moses in the Foundling Hospital, William Hogarth, 1697–1764, British, And Luke Sullivan, 1705–1771, British, after William Hogarth, 1697–1764, British, 1752, Engraving

Studies for the Instruction of Painters, two suites. Rome, c. 1630, Print made by Francesco Curti, 1610–1690, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Domenico de Rossi, active 17th century, Italian,

Lady Anne Bingham, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, undated, Stipple engraving on moderately thick, moderately textured, cream, laid paper,

Set of seven, untitled, each dedicated: To the Right Hon'ble. Thomas Lord Viscount Weymouth...from the Original Painting in Long Leat Hall. A gentleman standing at left with a hound; at right..., L. Truchy, 1721–1764, Pierre Charles Canot,

Devonport and Dockyard, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 1/2 × 14

Marie Claire de Croÿ, Coenrad Waumans, born 1619–active 1636/37, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving, stipple engraving and etching 2nd

Views of Montreal and Louisburg: An East View of Montreal in Canada, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Thomas Patten, 18th century, British, 1762, Color engraving, Sheet: 13 3/16 x 21 1/16in. (33.5 x

Prudence, 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, Line engraving

A View of London from One-Tree-Hill in Greenwich Park, unknown artist, eighteenth century, after Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), undated, Engraving

Plate 12 (page 19): 'Emblem of that which shall awake the dead', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Sir Thomas Pasley, Anna Maria Smith Edmonton, 1766–1833, and John Thomas Smith, 1766–1833, British, after Lemuel Francis Abbott, ca. 1760–1802, British, 1796, Stipple engraving, Sheet: 13 1/4 x 18 1/2in. (33.7 x 47cm

Loch Achray (Vignette), Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, second state on medium, slightly textured, cream wove paper with chine-coll

King Lear: Act III, Scene IV, William Sharp, 1749–1824, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1793, Line-engraving and etching, engraver's proof, Plate: 19 1/2 x 24 5/8in. (49.5 x 62.5cm

The Maiden, Print made by Henry Ryall, 1811–1867, British, after Francois Theodore Rochard, 1798–1858, French, undated, Engraving with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 7 11/16 × 5 1/4

Excellmus. D. Don. Alvar. Bazan. March. de Sta. Cruc. Cath. Ma. a. Stat. Consilet. Cubicul. Ocean. Quacunq, Hisp. Monarch. Domi. Propræf. Regior. Arm. Per. Belg. Gubern., Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck,

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

Plate 7 (page 12): 'Its favours here are trials, not rewards', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Bridge of Meulan, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Lunar Planisphere, Flat Light, Print made by John Russell, 1745–1806, British, 1805, Stipple and line engraving on moderately thick, slightly textured, cream wove paper, Sheet: 19 3/4 × 18 3/4 inches (50.2 × 47.6 cm) and Image: 16 3/8 ×

Ticket for the Brandenbourg House Masquerade, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Edward Francis Burney, 1760–1848, British, ca. 1797, Etching and line engraving on medium, slightly

Brignall Church, Samuel Rawle, 1771–1860, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching, first published state on moderately thick, slightly textured, cream, wove paper, with

Concert Ticket: Grand Professional Concert, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1791, Etching and line engraving on medium, slightly textured, cream laid paper, Sheet: 3 3/4 x

Cupid and Psyche, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1789, Line engraving

By the Sea (tail piece), 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,

Tours - Looking Backwards, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Mr. Garrick and Miss Bellamy in the Characters of Romeo and Juliet, Simon Francois Ravenet, 1721–1774, French, active in Britain, after Benjamin Wilson, 1721–1788, British, Published by Benjamin Wilson, 1721–1788, British, 1753,

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

Kirkby Lonsdale Churchyard, Charles Heath, 1785–1848, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet:

Havre, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on moderately thick, smooth, cream, wove paper, Sheet: 7 × 10 5/8 inches (17.8 × 27 cm), Plate: 6 × 8 1/2

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, Line engraving and stipple engraving on medium, slightly

Summer Eve - the Rainbow, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, c. 1837, Engraving

A Brisk Gale, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Willem van de Velde the Younger, 1633–1707, Dutch, active in Britain (from 1672), Published by John Boydell, 1720–1804, British, ca. 1765, Line

Painting in the Sepulchres of Thebes, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Old Houses in Duke Street West Smithfield, unknown artist, ( Barret ), after Jeffrey O'Neal, active 1763–1772, 1797, Engraving

William Kent, Alexander Bannerman, ca. 1730–1780, after William Aikman, 1682–1731, British, formerly after unknown artist, 1762, Line engraving on medium, slightly textured, cream wove paper, Sheet: 8 7/8 x 6 inches (22.5 x 15.2 cm),

Young's Night Thoughts, Title Page, 'Night the First, On Life, Death and Immortality.', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream

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,

Chapel, Fulham Palace, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1798, Engraving

Cloisters of Whalley Abbey, James Basire, 1769–1822, British, after Joseph Mallord William Turner, 1775–1851, British, 1800-1801, Line engraving, published state

The Southwark Iron Bridge, unknown artist, after unknown artist, 1822, Engraving, Sheet: 12 3/8 x 17 7/8in. (31.4 x 45.4cm

Assos, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

Loutherbourg, Page, fl. 1784–1803, after Philippe-Jacques de Loutherbourg, 1740–1812, French, active in Britain (from 1771), 1814, Engraving

Teignmouth, Devon, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, Sheet: 8

Henry VIII, Act IV, Scene II, Abbey of Leicester. Wolsey, Northumberland, and Attendants, Abbot of Leicester, etc., Robert Thew, 1758–1802, British, after Richard Westall, 1765–1836, British, 1803, Engraving, Sheet: 17 5/16 x 23

The Aelian Bridge and Castle of St. Angelo, with part of the City of Rome, Carington Bowles, 1724–1793, British, after unknown artist, undated, Hand-colored engraving on wove paper, Sheet: 60 1/2in. (153.7cm), arch bridges, boats, bridge

Tynemouth Priory, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, c. 1844, Line engraving; engraver's proof, touched on medium, slightly textured, cream wove paper with

Minehead, Somersetshire, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Etching and line engraving; first published state on medium, slightly textured, cream wove

No. 5 and No. 6 in the 8 stages of growth of the Surinam Frog, Archibald Robertson, 1748–1788, after James Bruce, 1730–1794, British, 1769, Engraving

Inverlochy Castle, Invernesshire, Henry Griffiths, 1835–1849, British, after Thomas Allom, 1804–1872, British, Published by George Virtue, ca. 1820–1908, British, 1836, Etching and line engraving on moderately thick, slightly

Stratford Bow, as seen in September 1826, George Cooke, 1781–1834, British, after Sir Augustus Wall Callcott, 1779–1844, British, 1826, Engraving

Havre, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof (touched

Quilleboeuf, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving and etching, engraver's proof

Diligence and Dissipation: The Wanton turn'd out of Doors for Misconduct (Plate 5), Thomas Gaugain, 1748–1812, French, And Thomas Hellyer, active 1800, British, after James Northcote, 1746–1831, British, 1797, Stipple engraving, open

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

Lincoln House, Enfield, Outer Suburb - North, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1800, Engraving

St. Leonard, Shoreditch, S. Jenkins, active 1814–1818, after John Coney, 1786–1833, British, 1816, Engraving, Sheet: 13 5/8 x 10 1/2in. (34.6 x 26.7cm

A Survey of the Roads and Foot paths in the Parish of Islington, unknown artist, ( John Hawksworth ), after unknown artist, 1811, Engraving

The Proscenium of the English Opera House in the Strand, James Stow, ca. 1770–after 1820, British, after Edward Francis Burney, 1760–1848, British, 1817, Engraving

Mrs. Lenox, Print made by Henry R. Cook, active 1802–1849, British, active in Britain and France, after Sir Joshua Reynolds RA, 1723–1792, British, Published by G. Cowie & Co., active 1830s, British, 1813, Stipple engraving and line

The Infant Academy, Print made by Francis Haward, 1759–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, Published by James Birchall, active 1781–died in 1794, British, 1783, Etching and stipple engraving on medium,

Ralph Cudworth, George Vertue, 1684–1756, British, after David Loggan, 1633–1692, British, undated, Stipple and line engraving on medium, slightly textured, cream, laid paper, Sheet: 6 7/16 × 3 15/16 inches (16.4 × 10 cm) and Image:

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