Images at Librifly

search results: Engraving clear search

The Rapacious Steward or Unfortunate Tenant, Haveill Gillbank, 18th–19th centuries, British, after William Redmore Bigg, 1755–1828, British, 1803, Engraving, mixed method, Sheet: 18 1/8 x 24in. (46 x 61cm), apron, children, genre

N.E. View of the Collegiate Church of St. Katherine, Benjamin Thomas Pouncey, active 1772–1799, British, after Benjamin Thomas Pouncey, active 1772–1799, British, 1779, Engraving, Sheet: 6 1/4 x 7 1/2in. (15.9 x 19.1cm

Frontispiece for 'Pilgrim's Progress', Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, first published state

Thomas Hayley (1780-1800), Print made by William Blake, 1757–1827, British, Published by Cadell & Davis, Strand, 1773–1836, British, 1800, Stipple engraving and line engraving on moderately thick, smooth, cream wove paper, Sheet: 8

Almanac for 1707 with a View of Westminster Hall, Joseph Nutting, active 1700, British, after Wenceslaus Hollar, 1607–1677, Bohemian, 1707, Letterpress, engraving

Death of Henry V, Print made by William Bromley, 1769–1842, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1811, Etching and line engraving on thin, slightly textured, cream

Carriage Match: A Print of the Chaise Match Run on New-market Heath on Wednesday the 29th. of August 1750. Taken from the Life by Mr. Seymour ..., Charles Grignion, 1717–1810, British, after James Seymour, 1702–1752, British, 1751,

Vortigern & Rowena, Print made by Anker Smith, 1759–1819, British, after Robert Smirke, 1752–1845, British, Published by Nuttall, Fisher & Dixon, active 1818, British, 1816, Etching and line engraving on thin, slightly textured,

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

'The Feast of Reason & the Flow of the Soul, ' - I.E. - The Wits of the Age, Setting the Table in a - Roar., James Gillray, 1757–1815, British, 1797, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

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, Etching and engraving, printed in color and hand-colored, Sheet: 18 1/2 x 24 1/4in.

Henry the Eighth, Charles Gauthier Playter, died 1809, 1792, Engraving, Sheet: 13 x 15 5/8in. (33 x 39.7cm

Hythe, Kent, Print made by George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1824, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper, Sheet: 8 3/4 ×

Hon. George Cranfield Berekley, Print made by Richard Earlom, 1743–1822, British, after Thomas Gainsborough RA, 1727–1788, British, 1793, Mezzotint with stipple engraving on medium, slightly textured, cream laid paper, Sheet: 27 × 19

Abbotsford, Print made by Henry Le Keux, 1787–1868, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

The Back Front of the Royal Hospital at Chelsea Also View of the Front, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving, Sheet: 8 1/8 x 13 3/4in. (20.6 x 34.9cm

Kenilworth Castle, Warwickshire, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Engraving and etching, first published state

The Old East India House, Leadenhall Street, William B. Rye, active 1851–1853, after George Vertue, 1684–1756, British, 1851, Engraving

Arundel Castle and Town, Sussex, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Etching and engraving, with scraping out and touched with graphite (First Published State

Sir Robert Ker Porter, Print made by Samuel Freeman, 1773–1857, British, after John Wright, active 1812, Published by Paul and Dominic Colnaghi & Co, established 1760, active ca. 1785–1911, Italian, active in Britain, undated, Stipple

A View of Chelsea Water Works, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1752, Engraving, Sheet: 10 1/4 x 16 7/8in. (26 x 42.9cm

Sion House, William John Cooke, 1797–1865, Irish, after Samuel Owen, 1768–1857, British, 1810, Engraving

Herstmonceux Castle from the Southwest, William Henry Brooke, 1772–1860, Irish, after William Henry Brooke, 1772–1860, Irish, undated, Engraving, architectural subject, castle

Alfred the Great Dividing His Loaf with the Pilgrim, William Sharp, 1749–1824, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1782, Engraving on moderately thick, slightly textured, blued white, laid

Tenant's Family, Charles Knight, 1743–c.1826, British, after Thomas Stothard, 1755–1834, British, 1800, Colored stipple engraving, Sheet: 21 x 16 1/2in. (53.3 x 41.9cm

Daniel Mytens, Alexander Bannerman, ca. 1730–1780, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1762, Line engraving and stipple engraving on moderately thick, slightly textured,

The Young Earl of Richmond before Henry VI, 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 on thin,

Vignette with Putti carrying Hermes Staff and Lyre and Angel blowing Trumpet, Three Muses, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

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

Cherub Whispering to Woman holding Letter, 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, Engraving

Palace of Whitehall - The Water Side, after Inigo Jones, 1573–1652, British, and Edward Rooker, 1724–1774, British, and Pierre Charles Canot, ca. 1710–1777, French, active in Britain, 1748, Engraving on moderately thick, slightly

Pantheum Romanum nunc Mariae Cognomento, 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, Published by

Nineveh, Moussul on the Tigris, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, engravers proof

Evening, 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,

Knaresborough, Yorkshire, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Remains of Aldgate, Bethnal Green, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1800, Engraving

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

Humours of Oxford, 1729, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1807, Engraving

King Lear, Act 4, Scene VII, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Henry Tresham, 1751–1814, British, 1794, Engraving

May-Day in London, William Blake, 1757–1827, British, after Samuel Collings, active 1784–1795, British, 1784, Hand colored engraving

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,

A Chorus of Singers, Rehearsal of the Oratorio of Judith, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1808, Etching and line engraving on

Town Hall, Ghent, Print made by J. Higham, active ca. 1848, British, after Thomas Allom, 1804–1872, British, undated, Line engraving on medium, slightly textured, cream wove paper

The Quadrant and Part of Regent Street, William Wallis, 1794– active 1830, after Thomas Hosmer Shepherd, 1792–1864, British, 1828, Engraving

Eastern Cloister of St. Barts Priory, John Greig, active 1800–1853, British, after John Greig, active 1800–1853, British, 1805, Engraving, Sheet: 8 3/4 x 6in. (22.2 x 15.2cm

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

A Doorway in one of the Cellars Under the Old House of Lords, Print made by John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1804, Line engraving on slightly textured, moderately thick, white wove

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

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

Thomas Stothard, Esq. R. A., William Henry Worthington, ca. 1790–active 1839, British, after George Henry Harlow, 1787–1819, British, 1818, Line engraving

From the Painting of the Ceiling in the Banqueting House at White-Hall in the Year 1720, Simon Gribelin, 1662–1733, French, active in Britain, after Sir Peter Paul Rubens, 1577–1640, Flemish, ca. 1720, Line engraving on medium, slightly

Bally-Burgh Ness, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Line engraving

Okehampton, Devonshire, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, touched

Le Dernier Des Mohicans, Print made by Tony Johannot, 1803–1852, French, undated, Line engraving on medium, slightly textured, cream wove paper

Lillebonne, Chateau and Tower, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving

A View of Charlton near Woolwich, Kent, Michael 'Angelo' Rooker, 1746–1801, British, after Paul Sandby RA, 1731–1809, British, 1775, Engraving

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

Horse-racing Set of six: 5. Bridling, Sadling, Breaking, & Training, William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1 x 54.3cm

William Dodd, L. L. D., John Goldar, 1729–1795, British, after Daniel Dodd, active 1761–1780, British, between 1775 and 1795, Line engraving with hand coloring on moderately thick, slightly textured, cream laid paper, laid in mount,

The Lake of Geneva, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving and etching; engraver's proof on medium, slightly textured, cream wove paper with

View of the London Hospital in Whitechapel Road, Jean B. C. Chatelain, 1710–1771, French, William Henry Toms, ca. 1700–ca. 1750, British, after William Bellers, active 1761–1774, c. 1753, Engraving, Sheet: 14 1/2 x 20 3/4in. (36.8 x

Waltham Abbey, Outer Suburb - East, John Greig, active 1800–1853, British, after George Arnald, 1763–1841, British, 1804, Engraving

St. Germain-en-Laye, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, 1st state on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 10 7/8

Arthur Devis, Print made by Thomas Cheesman, 1760–1834/35, British, after Arthur William Devis, 1762–1822, British, undated, Stipple engraving on moderately thick, slightly textured, beige wove paper with beige chine collé, Sheet: 10

Turin from the Portico of the Superga Church, James Mitan, 1776–1822, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Etching and engraving on medium, smooth, cream, wove paper, with cream, chine colle,

Mantes, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof (finished, without any lettering

The Bench, William Hogarth, 1697–1764, British, 1758, Engraving on wove paper, Sheet: 12 3/8 x 8 1/4in. (31.4 x 21cm

The Inside of a Smelting House at Broseley, Shopshire, Wilson Lowry, 1762–1824, British, after George Robertson, 1749–1788, British, 1788, Engraving, Sheet: 15 7/8 x 22in. (40.3 x 55.9cm

Caen Wood, Middlesex, James Heath, 1757–1834, British, Richard Corbould, 1757–1831, British, OR after Henry Corbould, 1787–1844, British, 1793, Engraving

Banks of the Garonne near Bordeaux, Print made by George Corbould, 1786–1846, British, after Robert Batty, 1789–1848, British, Published by Rodwell & Martin, active 1819–1835, British, 1821, Line engraving on medium, slightly

Chateau de Nantes, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving

Bridge of Meulan, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, early engraver's proof, touched

A Fishing Smack with a Boat (Dutch Boat in a Gale), James Fittler, 1758–1835, British, after Joseph Mallord William Turner, 1775–1851, British, 1808-1818, Engraving, engraver's proof, Sheet: 9 1/4 x 12in. (23.5 x 30.5cm

Arab Shekh, Tribe Beni Koreish, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

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, slightlly textured, beige, wove paper, with beige, chine

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, Stipple engraving and line engraving on medium, slightly

MacBeth, Act I, Scene V: 'Inverness. A Room in MacBeth's Castle', James Parker, 1750–1805, British, after Richard Westall, 1765–1836, British, 1803, Engraving, Sheet: 16 7/8 x 22 7/16in. (42.9 x 57cm

Shakespeare's Tempest Act IV Scene I. Prospero's Cell., Robert Thew, 1758–1802, British, after Joseph Wright of Derby, 1734–1797, British, active in Italy (1773–75), 1800, Stipple engraving on moderately thick, moderately textured,

Billingsgate, William Bernard Cooke, 1778–1855, British, after Samuel Owen, 1768–1857, British, 1828, Engraving, Sheet: 6 x 9 1/4in. (15.2 x 23.5cm

James McArdell, Print made by Richard Earlom, 1743–1822, British, after James McArdell, ca. 1729–1765, Irish, Published by Robert Sayer, 1725–1794, British, 1771, Mezzotint on medium, slightly textured, beige laid paper, Sheet: 17

An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: The Figures supposed to be those of King Sebert and King Henry III (Plate V), James Basire, 1769–1822, British, William Blake, 1757–1827, British,

An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: The Under Vaulting of one side of the Canopy of the Monument of Aveline, Coutess of Lancaster (Plate III), James Basire, 1769–1822, British, William

Captain Thomas Coram, William Nutter, 1754–1802, British, after William Hogarth, 1697–1764, British, 1796, Engraving on moderately thick, smooth, beige, wove paper, Sheet: 25 1/8 × 19 3/16 inches (63.8 × 48.7 cm), Plate: 22 7/8 ×

Rome, Castle of St. Angelo (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

A Prospect of the City of London (General View from Southwark), unknown artist, after Johannes Kip, 1653–1722, Dutch, 1748, Engraving, Image: 18 7/8 x 44 1/8in. (47.9 x 112cm

The Fall of Aganecca, 1783, James Parker, 1750–1805, British, after ? John James Barralet, 1747–1815, British, OR after ? John Melchior Barralet, active 1750–1787, 1783, Engraving on moderately thick, moderatley textured, cream,

Set of Four: Boys Skating, George Morland, 1763–1804, British, 1790, Hand colored stipple engraving, Sheet: 11 7/16 x 14 15/16in. (29.1 x 37.9cm

View in Edward the Confessor's Chapel, William Woolnoth, active 1806–1830, British, after John Preston Neale, 1771/80–1847, British, 1817, Engraving

View of London from Highgate, William Knight, active 1807–1845, after Edward Dayes, 1763–1804, British, 1797, Engraving

The Distressed Poet, William Hogarth, 1697–1764, British, 1740, Engraving

Chimney in the Blue Bed Chamber, Thomas Morris, active 1771–1794, after unknown artist, undated, Engraving

Flower of the Banskia Abissinica 1789, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Hand colored engraving

Wyer Hall, Edmonton, Outer Suburb - North, after James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1797, Engraving

Scene on the Loire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Young's Night Thoughts, Page 7, 'Till at Death's toll, whose restless iron tounge', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Arch of Septimus Severus, Print made by unknown artist, Antonio Lafreri, 1512–1577, French, 1546-1590, Line engraving and etching on medium, slightly textured, cream laid paper, Sheet: 19 3/8 × 14 1/8 inches (49.2 × 35.9 cm

A View of Campo Vaccino at Rome, Print made by unknown artist, (de Bois), Published by John Bowles, 1701–1779, British, undated, Etching and line engraving on medium, slightly textured, cream laid paper, laid on contemporary mount made of

Hebe, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1791, Engraving

The Boy of Egremond, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with cream, chine colle,

Berwick-on-Tweed, Print made by William Miller, 1796–1882, 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

search results: Engraving clear search