Images at Librifly

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Monument in Kidderminster Church in Worcestershire, James Ross, 1745–1823, British, after unknown artist, undated, Engraving

Winander-mere, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 3/4 × 14 11/16

Harbour of St. Malo, Print made by W. Floyd, active 1845, after Clarkson Stanfield, 1793–1867, British, Published by Henry Graves & Co., ca. 1812–1892, British, 1833, Line engraving and etching on moderately thick, slightly textured,

M. Antonii Antii Lupi, Print made by unknown artist, sixteenth century, Published by Giovanni Orlandi, active 1590–1640, Italian, Published by Antonio Lafreri, 1512–1577, French, 1551, Line engraving on medium, slightly textured,

Pyrrhus when a Child, Print made by John Hall, 1739–1797, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1769, Engraving

Dover from Shakespeare's Cliff, Print made by George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1826, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper,

Jupiter and Leda, Benjamin Comte, 1760–1851, Swiss, and Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Vieira, 1765–1806, 1814, Engraving

Venus Surrounded by Cupids, 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, Line engraving

Straits of Dover, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (early

Chateau de la Mailleraie, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

H.R.H. Prince Leopold, Queen Victoria's Uncle, Sir George Hayter, 1792–1871, British, after Sir George Hayter, 1792–1871, British, 1816, Stipple engraving and soft-ground etching on thick, slightly textured, cream wove paper with gray

Bradwell Lodge in Essex, the Seat of the Revd. Henry Bate Dudley, Print made by William Angus, 1752–1821, British, after Thomas Malton, 1726–1801, British, and after Thomas Rowlandson, 1756–1827, British, Published by William Angus,

Thomas Otway, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1741, Line engraving on medium, slightly textured, cream wove paper

Hamlet Winstanley, Alexander Bannerman, ca. 1730–1780, after Hamlet Winstanley, 1698–1756, British, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 7 11/16 x 5 3/8 inches (19.5 x 13.7 cm) and Image: 6 1/4

Beaugency, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof (early) on moderately thick, slightly textured, beige, wove paper, Sheet: 6 × 8 7/8

Facsimile from one of the Books of Indentures for the Foundation of King Henry VII's Chapel, Bartholomew Howlett, 1767–1827, British, after Bartholomew Howlett, 1767–1827, British, 1820, Engraving

Female Curiosity, Print made by Thomas Ryder, 1746–1810, Irish, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly textured,

Apollo and Daphne, Edward P. Brandard, 1819–1898, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

The Bridge of Sighs, Venice, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, first published state on moderately thick, slightly textured, beige, wove

For the Sexes: The Gates of Paradise, Plate 6, 'Air', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 13 3/4 inches (34.9 cm), Sheet: 13

Spilsbury's Views of Jamaica: A View Looking South of the Town and Harbour of Lucea in the Parish of Hanover the North Side of Jamaica, unknown artist, eighteenth century, after drawings by John Spilsbury, 1730–1795, 1770, Engraving, Sheet:

St. Anne's Hill, ( II ), Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, and graphite (Engraver's Proof) on medium, slightly textured, beige, wove

Book of Job, Plate 5, Satan Going Forth from the Presence of the Lord and Job's Charity, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/8 × 10 3/4 inches (38.4 × 27.3

Hamlet: Act IV, Scene V, Elsinore -- King, Queen, Laertes, Ophelia, etc., Print made by Francis Legat, 1755–1809, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1803, Engraving, Sheet: 17 x 23

'The Indian Emperor' or 'The Conquest of Mexico', Robert Dodd, 1748–1816, British, after William Hogarth, 1697–1764, British, 1792, Etching and engraving, Sheet: 17 11/16 x 21 1/2in. (44.9 x 54.6cm), audience, bust, chairs,

House in Lichfield, James S. Storer, 1771–1853, British, And Henry S. Storer, 1795–1837, British, after unknown artist, ( J. Hughes ), undated`, Engraving, Sheet: 5 3/4 x 9in. (14.6 x 22.9cm

Richmond Hill and Bridge, Surrey, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, first published state

This View of Fish Street Hill from Grace Church Street Representing the Monument, Thomas Morris, active 1771–1794, after William Marlow, 1740–1813, British, 1795, Engraving

Shakspeare, Benjamin Holl, 1808–1884, British, 1827, Stipple engraving on wove paper, Sheet: 11 5/8 x 9 1/8in. (29.5 x 23.2cm) and Plate: 8 3/4 x 6 7/8in. (22.2 x 17.5cm

Ticket for the Professional Concert in Hanover Square, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, 1789, Line engraving

Lebanon from Tripoli, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Ticket for the Benefit of Mr. Borghi, 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, Etching and line engraving on

Deodatus del Mont, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Etching and stipple engraving on medium, slightly textured, browned

Long-ships Light House, Land's End, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state, Sheet: 6 1/2 x 10in. (16.5 x 25.4cm

The Admiralty, the War Office, and the Treasury, Print made by J. Pass, active 1796–1800, after Edward Pugh, 1763–1813, British, 1804, Line engraving on medium, slightly textured, cream wove paper

Thomas Cromwell, Earl of Essex, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland and England, 1739, Line engraving on medium, slightly textured, cream laid

Fishing Boats, a Coast Scene, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

MacBeth, Act I, Scene III: 'A Heath', Print made by Thomas Trotter, ca. 1750–1803, British, after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1803, Engraving, progress proof, Sheet: 19 5/8 x 25in. (49.8 x

A View of the Orangerie at Chiswick, Lord Burlington's Garden, Print made by unknown artist, eighteenth century, after Pieter Andreas Rysbrack, ca. 1684–1748, Flemish, active in Britain (from 1720), ca. 1730, Engraving, Plate: 10 1/4 x 15

The Shipwreck, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Dan John Lydgate of Bury Poet Laureate, Print made by George Vertue, 1684–1756, British, ca. 1750, Line engraving on medium, slightly textured, cream laid paper

Theatre Royal, Haymarket, James Stow, ca. 1770–after 1820, British, after Jacob C. Schnebbelie, 1760–1792, British, 1823, Engraving

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

Calais, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, first published state

Henry William Paget, first Marquess of Anglesey, Print made by John R. Jackson, 1819–1877, British, after Sir Thomas Lawrence, 1769–1830, British, Published by Henry Graves & Co., ca. 1812–1892, British, 1845, Mezzotint and line

Cymbelline, Act II, Sc. 7, William Ridley, 1764–1838, British, after John Thurston, 1744–1822, British, 1799, Engraving

The Clerk's Well, Clerkenwell, unknown artist, nineteenth century, after unknown artist, undated, Engraving, Sheet: 5 x 4 1/4in. (12.7 x 10.8cm

Young's Night Thoughts, Page 70, ''Till death, that mighty hunter, earths them all', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

The Fourth Stage of Cruelty: The Reward of Cruelty, Print made by William Hogarth, 1697–1764, British, 1751, printed 1790, Line engraving on thick, white, smooth wove paper, Sheet: 24 7/8 x 19 1/4 inches (63.2 x 48.9 cm), Plate: 15 1/4 x

View of the Suspension Bridge across the Thames at Hammersmith, Letitia Byrne, 1779–1849, British, after unknown artist, 1827, Hand colored engraving

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

Fingal's Cave, Staffa, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and line engraving, second state on medium, slightly textured, cream wove paper with

The Right Honourable Lady Gertrude Villiers, Print made by Charles Wilkin, 1750–1814, British, after painting by Charles Wilkin, 1750–1814, British, 1800, Stipple engraving (proof without letters) on moderately thick, moderately

A View of Hagley Park, belonging to Sir Thomas Lyttelton Bart, Francois Vivares, 1709–1780, French, after Thomas Smith of Derby, ca. 1720–1767, British, 1748, Engraving, Sheet: 15 1/4 x 21 5/8in. (38.7 x 54.9cm

William Hogarth, Print made by Thomas Cook, 1744–1818, British, after Louis François Roubiliac, 1702–1762, French, active in Britain (from 1730), Published by Longman, active 1804–1914, British, 1809, Stipple engraving, etching,

Sir Andrew Aguecheek, Sir Toby Belch and the Clown - 'Twelfth Night', Act II, Scene III, Peltro W. Tomkins, 1760–1840, British, after Henry William Bunbury, 1750–1811, British, 1792, Engraving and stipple engraving on medium, slightly

Bolton Abbey, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st state on moderately thick, slightlyt textured, cream, wove paper, Sheet: 11 5/8 × 6 5/16

Prior, Love Disarmed, vol. II, John Scott, 1774–1828, British, after John Thurston, 1744–1822, British, 1802, Engraving

Ashby de la Zouch, Leicestershire, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, first published state

Moon-Light, Print made by John Browne, 1741–1801, British, after John Browne, 1741–1801, British, Published by John Boydell, 1720–1804, British, Published by Josiah Boydell, 1752–1817, British, ca. 1797, Etching and line

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

Lady Elizabeth Harriet Bulkeley (née Warren), Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, 1782, Stipple engraving on medium, moderately textured, cream, laid

Prenobili Ac Generoso Domino Dno. Hieronymo de Bran, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Etching and engraving on medium,

The Royal Hospital of Greenwich, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Canute Reproving the Flattery of his Courtiers, Print made by Thomas Milton, 1743–1827, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1810, Etching and line engraving on thin,

Marine Study No. 2, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Willem van de Velde the Elder, (?), ca. 1611–1693, Dutch, active in Britain (from 1672), after Willem van de Velde the Younger,

Fashionable Contrasts - or The Duchess's little shoe yielding to the Magnitude of the Duke's Foot, James Gillray, 1757–1815, British, 1792, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

For Children. The Gates of Paradise, Plate 12, 'Help! Help!', 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:

The Southwark Iron Bridge, George Cooke, 1781–1834, British, after Samuel Prout, 1783–1852, British, 1828, Engraving, Sheet: 6 7/8 x 9 3/16in. (17.5 x 23.3cm

Knight's Hill, Surrey, James Walker, 1748–1808, British, after James Walker, 1748–1808, British, 1795, Engraving

Analysis of Beauty, Plate I, Print made by J. Barlow, active 1791, after William Hogarth, 1697–1764, British, Published by John Boydell, 1720–1804, British, 1791, Etching and line engraving on medium, slightly textured, cream wove

Conversation in the Manner of Van Dyck, Print made by J. Barlow, active 1791, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly

Egypt, the Pyramid of Ghizeh, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, Engraver's proof

Lady Hamilton as a Bacchante, Print made by Charles Knight, 1743–c.1826, British, after George Romney, 1734–1802, British, 1797, Stipple engraving (first state) on moderately thick, moderately textured, cream, wove paper, Sheet: 14

The Diagorides Victors at Olympia (Design for the Walls of the Great Room of the Society for the Encouragement of the Arts), James Barry, 1741–1806, Irish, after 1783, Engraving, Sheet: 16 x 19in. (40.6 x 48.3cm

Book of Job, Plate 15, Behemoth and Leviathan, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 × 10 5/8 inches (38.1 × 27 cm), Plate: 8 1/4 × 6 3/4 inches (21 × 17.1

Blenheim, Oxfordshire, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Robert Blake, Thomas Preston, died 1759 or 1785, British, 1740, Mezzotint and line engraving, Sheet: 9 3/4 x 14 3/8in. (24.8 x 36.5cm

Edmonton, Outer Suburb - North, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1798, Engraving

A Perspective View of the Bowling Green &c. at Gubbins in Hertfordshire, a seat of Sr. Jeremy Sambrooke Bart., Jean B. C. Chatelain, 1710–1771, French, after Jean B. C. Chatelain, 1710–1771, French, ca. 1750, Hand colored engraving,

A Study from Nature; a lion among rocks, roaring, a human skull lower right, Sir George Hayter, 1792–1871, British, 1820, Etching and stipple engraving, Sheet: 9 7/8 x 11 3/8in. (25.1 x 28.9cm

Frodate et Peso etc., Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sebastiano Ricci, 1659–1734, Italian, undated, Sepia engraving, Sheet: 17 1/8 x 22 1/4in. (43.5 x 56.5cm

Interior of the Choir of St. Barts the Great, Bartholomew Howlett, 1767–1827, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1822, Engraving, Sheet: 13 x 10 1/2in. (33 x 26.7cm

Lambeth Palace, Surrey, Sparrow, active 1773–1787, after unknown artist, 1778, Engraving

Mrs. Chambers, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after B. Meyer, active 1782, 1782, Stipple engraving on medium, moderately textured, cream laid paper, Sheet: 12 9/16 x 10 1/4

The Seven Sisters, Tottenham, unknown artist, (R. Bowler), after unknown artist, ( ? P. Coor), 1818, Engraving

Villa Madama - Moonlight, Print made by Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper, arcades,

James Graham Marquess of Montrose, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1740, Line engraving and etching on moderately

Saumur, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, with beige, chine colle, Sheet:

The Interview of Tom Jones and Sophia, After the Reconciliation., Peter Simon, 1750–1810, after John Downman, 1750–1824, British, 1789, Colored stipple engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 16

Miss Gunning, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after R. Saunders, 1772–1808, ca. 1796, Stipple engraving on moderately thick, moderately textured, cream laid paper, Sheet: 8 5/16

Confluence of the Seine and Marne, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Shakespeare's Monument at the Church at Stratford upon Avon, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof (touched), Image: 4 1/4 x 2 7/8in.

Geshe el Aube, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, c. 1789, Hand colored engraving

Taming... Act II, Sc. I, Page, fl. 1784–1803, after Henry Richter, 1772–1857, British, Feb. 1, 1791, Engraving

York House. The North and East Fronts as seen from the Stableyard, 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.

Returning from the Spring. Virginia., Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, stipple engraving and color woodcut on moderately thick, smooth, cream wove paper, Sheet: 5 7/8 x 11 5/16 inches (15 x 28.8 cm),

Houses on the South Side of Leadenhall Street, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1796, Engraving

The Custom House, William Bernard Cooke, 1778–1855, British, after Samuel Owen, 1768–1857, British, 1814, Engraving, Sheet: 9 3/4 x 6in. (24.8 x 15.2cm

The Invasion, Plate II, England, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper

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