Images at Librifly

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A North View of London, John Stevens, active 1745–1746, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), 1794, Hand colored engraving

A Naiad, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1779, Engraving

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 on medium, slightly textured, cream wove paper with chine-coll

Marriage à la Mode, Plate I, The Contract, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833, Line engraving on medium, slightly textured, cream wove paper

Age of Innocence, Print made by Joseph Grozer, ca. 1755–1798, British, after Sir Joshua Reynolds RA, 1723–1792, British, ca. 1794, Stipple engraving and etching on moderately thick, moderately textured, cream laid paper, Sheet: 13 1/2

The Temple of Jupiter in the Island of Aegina, Etched by Samuel Middiman, ca. 1750–1831, British, Engraved by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Etching and line engraving;

Building Houses with Cards, Print made by L. Truchy, 1721–1764, after Francis Hayman, 1707/8–1776, British, after design by Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), 1743, Engraving, Sheet: 11 1/8

Wycliffe, near Rokeby, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1823, Line engraving and etching, engraver's proof on thick, slightly textured, cream, wove paper, with cream, chine

Banditti, Joseph Haynes, 1760–1829, British, after John Hamilton Mortimer, 1740–1779, British, Published by John Hamilton Mortimer, 1740–1779, British, and John Boydell, 1720–1804, British, 1780, Etching and stipple engraving on

A View of Stour Head in the County of Wiltshire, The Seat of Henry Hoare Esq. The Temple of Flora, Francois Vivares, 1709–1780, French, after Coplestone Warre Bampfylde, 1719–1791, British, 1777, Engraving, Plate: 17 1/2 x 21 7/8in.

Francis Vivares, Francois Vivares, 1709–1780, French, after James Caldwall, 1739–1819, British, 1776, Line engraving, Sheet: 8 1/8 x 6 3/8in. (20.6 x 16.2cm

John Harington, second Baron Harington of Exton, Renold Elstrack, 1570–1625(?), British, Published by Henry Balaam, active 1612–1616, British, between 1610 and 1614, Line engraving on medium, slightly textured, beige laid paper,

As You Like It: Act II, Scene VII: The Seven Ages Man (sixth age), William S. Leney, 1769–1831, British, after Robert Smirke, 1752–1845, British, 1801, Engraving

Two Putti, One Drawing the Other, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

A Village - Evening, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on moderately thick, slightly textured, beige, wove paper, with beige, chine colle, Sheet:

Buildings on the South Side of New Palace Yard, Joshua Bryant, active 1795–1810, after Joshua Bryant, active 1795–1810, 1805, Hand colored engraving

Hay-Makers, George Stubbs, 1724–1806, British, after George Stubbs, 1724–1806, British, 1791, Stipple engraving, second state, Sheet: 16 11/16 x 21 13/16in. (42.4 x 55.4cm

London Wall, in the Church Yard of St. Giles', Cripplegate, unknown artist, after unknown artist, 1792, Engraving

Set of four: 4. Wood-Cock and Pheasant Shooting, T. Simpson, active 1790–1814, after George Morland, 1763–1804, British, 1790, Color printed and hand colored stipple engraving, Sheet: 11 3/4 x 14 3/8in. (29.8 x 36.5cm

Rievaulx Abbey, Joseph C. Bentley, 1809–1851, British, after Joseph Mallord William Turner, 1775–1851, British, 1834-1856, Line engraving, engraver's proof

Virginia Water No. 11, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1837, Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, with cream

Young's Night Thoughts, Page 54, 'The Vale of Death! That Hush'd Cimmerian Vale', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

South East View of the Grotto now the Goldsmith's Arms, Maddocks, active 1825, after Jacob C. Schnebbelie, 1760–1792, British, 1825, Engraving

Head of Diana, Print made by Samuel Ireland, active 1760–died 1800, British, after William Hogarth, 1697–1764, British, 1785, Etching and stipple engraving on medium, slightly textured, cream wove paper

The Lord Mayor's Mansion House, Showing the Front and West Side, Paul Fourdrinier, French, after Samuel Wale RA, 1721–1786, British, 1754, Engraving

John Maitland, Duke of Lauderdale, Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1740, Engraving; Proof before letters, with engraver's name and date only, Sheet: 18 1/2 x

Plan of the Area to the West of Whitehall and Charing Cross, unknown artist, after unknown artist, 1807, Engraving

View of Temple Bar, James Neagle, 1760–1822, British, after Edward Dayes, 1763–1804, British, 1799, Engraving

Cardinal Wolsey, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1738, Line engraving on medium, slightly textured, cream laid paper

Time and Beauty, 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, Engraving

The Enraged Musician, William Hogarth, 1697–1764, British, 1741, Line engraving, Sheet: 14 1/8 x 16 1/8in. (35.9 x 41cm

Plate 43 (page 95): 'The goddess bursts in thunder and in flame', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

View in Cuper's Gardens, Lambeth, Bartholomew Howlett, 1767–1827, British, after unknown artist, ( Ravenhill ), 1825, Engraving

For Children. The Gates of Paradise, Plate 13, 'Aged Ignorance', 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),

Tarascon, Print made by William Bernard Cooke, 1778–1855, British, after Peter DeWint, 1784–1849, British, undated, Etching and line engraving on medium, slightly textured, cream wove paper

The Virgin, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Raphael, Italian, 1483–1520, Italian, 1778, Stipple engraving and etching on moderately thick, moderately textured, cream laid

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

A-Hunting We Will Go (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

Young's Night Thoughts, Page 31, ''Tis greatly wise to talk with our past hours', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

The Society of Arts distributing its Premium, Isaac Taylor, 1730–1807, British, after Edward Pugh, 1763–1813, British, 1804, Engraving

Heriot's Hospital, George Cooke, 1781–1834, British, Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving on moderately thick, slightly textured, cream, wove paper, with

Saumur, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, first published state on moderately thick, slightly textured, cream, wove paper, with gray, chine colle,

Titus Andromicus, Act IV, Scene I, Titus' House, Thomas Kirk, 1765–1797, Irish, 1803, Engraving, Sheet: 14 3/4 x 19 3/4in. (37.5 x 50.2cm

John Hampden, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1740, Line engraving on medium, slightly textured, cream laid paper

Designs for the Great Room of the Society of Arts (4 of 1 sheet), James Mitan, 1776–1822, British, after James Barry, 1741–1806, Irish, 1808, Engraving, Sheet: 5 x 9in. (12.7 x 22.9cm

One of Seven Engraved Reproductions from 'Roger's Italy', M. H. Long, after Joseph Mallord William Turner, 1775–1851, British, 1884, Engraving

A Perspective View of the Building for the Fireworks in the Green Park, Taken from the Reservoir, Print made by Paul Angier, active 1749, French (active in London), after P Brookes, active 1747, British, Published by Robert Sayer,

Simmer Lake near Askrig, Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving, and etching engraver's proof on moderately thick, slightly textured, cream, wove paper,

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

Her Royal Highnes the Princess Elizabeth, Print made by William Ward, 1766–1826, British, after Johann Heinrich Ramberg, 1763–1840, German, active in Britain (1781–88), Published by Francis Jukes, 1747–1812, British, 1801, Stipple

Boulevards, Paris, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Clifden, Connemara, Print made by Robert Brandard, 1805–1862, British, after William Henry Bartlett, 1809–1854, British, Published by Virtue, active 1820s–1908, British, undated, Line engraving on medium, slightly textured, cream

Marriage a La Mode, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1806, Engraving

Jechomas, 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

The Cottagers, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1794, Etching and stipple engraving on medium, slightly textured, cream wove

The Death of Arcite, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Gavin Hamilton, 1723–1798, British, active in Italy (1744–48 and 1756 on), 1790, Engraving, bed, curtains, death, mourning,

Flint Castle, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 × 14 15/16 inches

Our Saviour healing the sick in the Temple, Print made by Charles Heath, 1785–1848, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1812, Engraving, Plate: 22 1/2 x 30 1/2 inches (57.2 x 77.5 cm

Book of Job, Plate 18, Job's Sacrifice, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 × 11 inches (38.1 × 27.9 cm), Plate: 8 1/2 × 6 3/4 inches (21.6 × 17.1 cm),

St. John's House, Hoxton with a Plan of its Environs, unknown artist, ( Dale ), after Jacob C. Schnebbelie, 1760–1792, British, 1823, Engraving

The Prince Regent, Print made by Andreas Freschi, born 1774, Italian, after Charles Rosenberg, active 1828–1848, Published by Colnaghi, established 1760, active ca. 1785–1911, Italian, active in Britain, 1814, Stipple engraving and

Dryburgh Abbey, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, before title on medium, slightly textured, cream wove paper with chine-coll

Act IV, The Relapse or Virtue in Danger, Scene 3, James Roberts, active 1766–1809, British, after unknown artist, undated, Engraving

Caerlaverock Castle, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Three Views of the Tower of London, after James Basire, 1769–1822, British, after unknown artist, 1815, Engraving

King William Street and St. Mary Woolnoth, John Woods, active 1836–1860, after Thomas Hosmer Shepherd, 1792–1864, British, c. 1840, Engraving, Sheet: 7 1/2 x 9 1/8in. (19.1 x 23.2cm

An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: Painting on the South Side Seberts Tomb, Jacob C. Schnebbelie, 1760–1792, British, after Jacob C. Schnebbelie, 1760–1792, British, 1791, Hand

Lancaster from the Aqueduct Bridge, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (later

The Humours of Bartholomew Fair, Print made by James Basire, 1769–1822, British, after Egbert van Heemskerk the Younger, d. ? 1744, Dutch, ca. 1734, Line engraving

Harfleur, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Shipwreck, 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,

The Simplon, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, first published state

Prudence, holding a Land Mirror and an Arrow with a Serpant, 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,

Shooting The Spanish Pointer, William Woollett, 1735–1785, British, after George Stubbs, 1724–1806, British, 1768, Engraving and etching, first state, Sheet: 17 1/2 x 22 1/8in. (44.4 x 56.2cm) and Image: 15 3/8 x 20 7/8in. (39 x 53.1cm

Folkestone, Print made by John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, c. 1844, Line engraving; finished engraver's proof on medium, slightly textured, cream wove paper

Lyme Regis, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814, Etching and engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, Sheet: 8 3/4

The New River's Head near Sadler's Wells, John Swaine, 1775–1860, British, after John Swaine, 1775–1860, British, 1795, Engraving, Sheet: 6 1/2 x 9 7/8in. (16.5 x 25.1cm

Norham Castle - Moonrise, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's Proof (touched

Columbus Breaking the Egg, 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,

The Roman Forum from the Tower of the Capitol, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Line engraving, and etching, engraver's proof (very early) on moderately thick, moderately

Male Nude from Panel of 'God Separating Light from Dark', 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

Students' Life in Germany, The Proctor, Print made by Albert Henry Payne, 1812–1902, British, 1846, Line engraving on medium, slightly textured, cream wove paper

Florence, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving, first published state on moderately thick, slightly textured, cream, wove paper, with cream, chine colle,

Girl Playing with Coal, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on medium, slightly textured, cream wove paper mounted on moderately thick,

John Wilkes, Esq., William Hogarth, 1697–1764, British, 1763, Etching and engraving, Sheet: 15 1/2 x 10 1/4in. (39.4 x 26cm

The Laterne of St. Cloud, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Henry IV, Part II: Act III, Justice Shallon's Seat in Gloucestershire, Thomas Ryder, 1746–1810, Irish, after James Durno, c. 1750–1795, British, 1803, Engraving, Sheet: 16 15/16 x 23 1/4in. (43 x 59.1cm

Lebanon from Tripoli, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first state

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

Bruce Castle, Tottenham, unknown artist, ( W. Faithorn ), after unknown artist, ( F. Austin ), 1840, Engraving

Merchants Taylor's Hall, Threadneedle Street, W. Watkins, active 1828–1830, after Thomas Hosmer Shepherd, 1792–1864, British, 1830, Engraving on smooth, moderately thick, white wove paper, Sheet: 6 1/4 × 9 1/4 inches (15.9 × 23.5

Georgius Johannes Commes, Spencer, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1792, Engraving

Richmond, Yorkshire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1819, Etching and line engraving on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet:

Plate 21 (page 37): 'Love, and love only, is the loan for love', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

'Views / illustrative of / Hastings / and its vicinity / Drawn & Engraved / by H. Morton 15 Eaton St. Pimlico, London' Title Page, Print made by Henry Morton, ca. 1807–1825, British, after Henry Morton, ca. 1807–1825, British, 1817,

A View of the Rotunda House and Gardens at Ranelagh with an exact representation of the Jubilee Ball as it appeared May 24th, 1759, Nathaniel Parr, active 1742–1751, British, after Canaletto, 1697–1768, Venetian, active in Britain

Outside Northwest View of St. Giles Church in the Fields, Anthony Walker, 1726–1765, British, after John Donowell, active 1753–1786, 1753, Engraving, Sheet: 14 1/2 x 16 13/16in. (36.8 x 42.7cm

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

A View of the Royal Circus in St. George's Fields, John Lodge, active 1782–1796, after unknown artist, 1782, Engraving

Choice of Paris, Print made by Florence Claxton, active 1855–1889, British, undated, Wood-engraving, animals, caricature, exterior, interior, men, text, women

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