Images at Librifly

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A View of the House and Part of the Garden at West Wycomb, William Woolnoth, active 1806–1830, British, 1757, Engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 17 7/8 × 23 3/4 inches (45.4 × 60.3 cm), Plate:

Rochester, Stroud and Chatham, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1838, Line engraving, 1st state on thick, smooth, cream, wove paper, with, cream chine colle, Sheet: 10 7/8 ×

Cartoon suggesting Papist Origins of the Fire, unknown artist, seventeenth century, after unknown artist, undated, Engraving

Venice, the Bridge of Sighs, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

The Gipsies (Wooded Landscape with Gipsies round a Camp Fire), John Wood, 1728–1781, British, after Thomas Gainsborough RA, 1727–1788, British, 1764, Engraving and etching, Sheet: 18 5/8 x 16 9/16in. (47.3 x 42.1cm), dog (animal),

The Crypt of the Ancient Nunnery of St. Helen, William Wise, Active 1823–1876, British, after William Capon, 1757–1827, British, 1817, Engraving, Sheet: 9 7/8 x 12 3/8in. (25.1 x 31.4cm

Plate 33 (page 72): 'And vapid; sense and reason shew the door', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Male Nude from Panel of 'God Separating the Waters...', 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

Collegium Sancti Iohannis Evangelista Cantabrigia illustrata, Print made by David Loggan, 1633–1692, British, after David Loggan, 1633–1692, British, 1690, Line engraving on medium, slightly textured, cream laid paper, Sheet: 22 × 17

Prince George of Denmark, Duke of Cumberland, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1745, Line engraving on medium, slightly textured, cream

Rhinoceros of Africa, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Mercury and Argus, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1841, Etching and line engraving; first published state on thick, moderately textured, cream wove paper

The Chase, William Henry Simmons, 1811–1882, British, 1851, Engraving and etching, animal art, deer, dog (animal), ocean, rocks (landforms

Caudebec, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, Engraver's proof

Mountain of the Grande Chartreuse, from Grenoble, Print made by Joseph C. Bentley, 1809–1851, British, after Thomas Allom, 1804–1872, British, Published by Fisher, Son & Co., active 1821–1848, British, undated, Line engraving and

Laurence Hyde, First Earl of Rochester, Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1741, Engraving; Proof before letters, with engraver's name and date only,

Trematon Castle, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, 3rd state on moderately thick, slighlty textured, cream, wove paper, Sheet: 10 5/8 × 14 5/8 inches

Untitled: Portrait of William Shakespeare, Henry Bryan Hall, 1808–1884, American, 1867, Line engraving on wove paper laid down on card, Sheet: 6 x 4 1/8in. (15.2 x 10.5cm

Mirkwood Mere, Print made by Edward Francis Finden, 1791–1857, British, after George Barret RA, ca. 1728/32–1784, Irish, 1830, Etching and line engraving on medium, slightly textured, cream wove paper with cream chine-coll

Animals a pair: 2. Tigress, Samuel William Reynolds, 1773–1835, British, after James Northcote, 1746–1831, British, 1799, Stipple engraving, Sheet: 15 1/2 x 20 5/8in. (39.4 x 52.4cm), animal art, tigers

Cecilia, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

View of Surgeon's Hall and South Side of Lincoln's Inn Fields, unknown artist, after unknown artist, 1813, Hand colored engraving, Sheet: 11 1/8 x 16 11/16in. (28.3 x 42.4cm

The Riot in Broad Street on the Seventh of June 1780, James Heath, 1757–1834, British, after Francis Wheatley, 1747–1801, British, 1790, Engraving, Sheet: 18 7/8 x 24 7/8in. (47.9 x 63.2cm

Longships Lighthouse, Land's End, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (negative), Sheet: 6 1/2 x 10in. (16.5 x 25.4cm

Henry VIII, Act I, Scene IV, York Place--Cardinal Wolsey, etc., Isaac Taylor, 1759–1829, British, after Thomas Stothard, 1755–1834, British, 1803, Engraving, Sheet: 17 7/16 x 23 1/2in. (44.3 x 59.7cm

Plans of Covent Garden and Drury Lane Theatres, unknown artist, after unknown artist, 1826, Engraving, letterpress

John Bacon Esqr., F. A. S., Print made by T. Blood, active 1812–1814, after John Russell, 1745–1806, British, Published by James Asperne, 1757–1820, British, 1815, Stipple engraving on moderately thick, slightly textured, cream

Ludlow Castle - Rising of the Water - Nymphs, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first published state

The Rural Lovers, Francois Vivares, 1709–1780, French, 1760, Engraving, Sheet: 15 7/8 x 19 3/4in. (40.3 x 50.2cm

The House of Commons, Print made by Henry Melville, active 1826–1841, British, after Henry Melville, active 1826–1841, British, 1834, Line engraving on smooth, moderately thick, white wove paper, Sheet: 7 1/2 × 11 inches (19.1 × 27.9

Pieta, Print made by John Smith, 1652–1743, British, after Lucas Vorsterman, (engraving), 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), Published by John

Fashionable Jockeyship, James Gillray, 1757–1815, British, 1796, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Herstmonceux Castle for the history and description of the Sussex Coast, Charles John Smith, 1803–1838, British, after unknown artist, ( Charles Scott ), undated, Engraving on smooth, moderately thick, cream wove paper, Sheet: 14 5/8 ×

Cibber, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 9 7/8 x 7 3/4 inches (25.1 x 19.7 cm), Plate: 7 1/2 x 5 1/2 inches (19.1 x 14 cm), and Image:

The Distrest(ed) Poet, William Hogarth, 1697–1764, British, 1740, Engraving, Sheet: 12 1/4 x 15 3/16in. (31.1 x 38.6cm

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

Moll King (Broadside Engraved Portrait of the Notorious Mistress of King's Coffee-House in Covent Garden...), unknown artist, eighteenth century, undated, Engraving

'Cries of London' Plate 10: 'Old Chairs to mend', Giovanni Vendramini, 1769–1839, Italian, after Francis Wheatley, 1747–1801, British, 1795, Colored engraving with stipple, DON'T USE: 16 15/16 x 13 1/2in. (43 x 34.3cm) and Plate: 16 7/16

Kirkby Lonsdale Churchyard, Charles Heath, 1785–1848, 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,

The Sun Rising, unknown artist, ( J. Kirk ), after Guido Reni, Italian, 1575–1642, Italian, 1792, Stipple engraving, Sheet: 7 1/2 x 10 5/8in. (19.1 x 27cm

View of Newcastle, upon Tyne, in Northumberland, Print made by John Peltro, 1760–1808, British, Published by Alexander Hogg, active 1778–1824, British, undated, Etching and line engraving on medium, slightly textured, cream wove

Mrs. Abington as Thalia, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, Published by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain

Ancestor of Christ from Aminadab Lunette (Left Figure), 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 Bernese Alps, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, with beige

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

Young's Night Thoughts, Page 25, 'Behold him, when past by; what then is seen', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Cuyp, Print made by John Young, 1755–1825, British, Published by Hurst, Robinson & Co, active 1818–1826, British, 1824, Mezzotint and line engraving on medium, slightly textured, cream wove paper

A View of the Mansion House..., Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1753, Engraving

Heriot's Hospital, Print made by Henry Le Keux, 1787–1868, British, Figures etched by George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Etching and line engraving; engraver's proof (a)

Circi Maximi Accuratissima Descriptio, Antonio Lafreri, 1512–1577, French, 1546-1590, Line engraving on medium, slightly textured, cream laid paper

Perugia (vignette), 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

Islington, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1808, Engraving

Lebanon from Tripoli, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

Fall of the Tees, John Landseer, 1769–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching, engraver's proof on medium, moderately textured, cream, wove paper, Sheet: 12 1/8 × 18

The Red Sea and Suez, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Engraving

Chelsea River View, unknown artist, nineteenth century, after unknown artist, 1872, Engraving, Sheet: 5 3/4 x 7 5/8in. (14.6 x 19.4cm

The Temple of Aphaia at Aegina: Elevations, Edmund Turrell, active 1835–1860, British, after Charles Robert Cockerell, 1788–1863, British, undated, Line engraving with graphite on moderately thick, slightly textured, cream wove paper,

Mrs Seaforth as, Tuccia - The Vestal Virgin, Peltro W. Tomkins, 1760–1840, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1798, Stipple engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 20 3/4 ×

'Tempest', Act I, Scene I, Benjamin Smith, 1775–1833, British, after George Romney, 1734–1802, British, 1797, Engraving and stipple engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 20 × 25 7/8 inches

Samuel Johnson, Thomas Trotter, ca. 1750–1803, British, after unknown artist, undated, Engraving, Sheet: 7 1/2 x 4 1/2in. (19.1 x 11.4cm

S.E. Prospect of Newcastle, Samuel Buck, 1696–1779, British, Nathaniel Buck, active 1727–1753, 1731-1748, Engraving

Tortoise, Print made by James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving, hand colored, animal art, tortoise

The Foundlings, Print made by François M. la Cave, active 1726–1766, after William Hogarth, 1697–1764, British, undated, Etching and line engraving on medium, slightly textured, cream laid paper, Sheet: 4 3/4 × 8 3/8 inches (12.1 ×

The Expulsion from Paradise, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first published state

Frederick Duke of Schonberg, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1739, Line engraving on medium, slightly textured, cream laid paper

Ingleborough, from Hornby Castle Terrace, Charles Heath, 1785–1848, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Etching and line engraving on moderately thick, slightly textured, cream, wove paper,

A View of the Piazza del Popolo in the City of 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

Titania and Bottom, Print made by unknown artist, after Henry Thomson, 1773–1843, British, undated, Mezzotint and engraving, color printed, hand colored, Sheet: 21 1/2 x 15 1/4in. (54.6 x 38.7cm

Content and Innocence, Print made by Thomas Burke, 1749–1815, British, after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), Published by Thomas Macklin, active 1779–1793, British, 1797, Hand-colored stipple

Ceiling of the Star Chamber, Print made by John Thomas Smith, 1766–1833, British, 1805, Line engraving on slightly textured, moderately thick, white wove paper, Sheet: 8 3/8 × 9 15/16 inches (21.3 × 25.3 cm), Plate: 6 1/4 × 8 11/16

Wolf's Hope, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

A View taken near Limehouse Bridge, looking down the Thames, George D. Heumann, 1691–1759, after unknown artist, undated, Engraving

Ticket: For the Benefit of Mr. Salpietro, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Vieira, 1765–1806, 1799, Etching and stipple engraving on moderately thick, moderately

Purfleet, Print made by William Bernard Cooke, 1778–1855, British, after Samuel Owen, 1768–1857, British, Published by William Bernard Cooke, 1778–1855, British, 1814, Line engraving and etching on medium, slightly textured, cream

Angelica Kauffman, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, Published by John Boydell, 1720–1804, British, 1780, Stipple engraving,

The taking of Porto Bello by Vice Admiral Vernon on the 22nd of Novr. 1739 with Six Men of War only, Print made by Remi Parr, active 1723–1750, British, after Peter Monamy, 1681–1749, British, Published by Bowles & Carver, 1763–1830,

Serenissmus Princ. Franciscus Thomas a Sabaudia, Princ. Carignani, etc. Armor et Exercit, , Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41),

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

A Village Evening, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Young's Night Thoughts, Page 40, 'Angels Should Paint It, Angels Ever There', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

For Children. The Gates of Paradise, Plate 9, 'Alas!', 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: 5 3/8

The Discovery, Print made by E. J. Dumée, active 1790, British, after George Morland, 1763–1804, British, Published by John Raphael Smith, 1752–1812, British, 1788, Stipple engraving and etching on moderately thick, slightly

Playing the Games of Quadrille, Print made by unknown artist, after Francis Hayman, 1707/8–1776, British, undated, Engraving, apron, bows (costume accessories), buckles, card game, chairs, coats, conversation piece, costume,

Land's End, Cornwall, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and line engraving, interstate (between 1st and 2nd) on thick, moderately textured, cream, wove

Plan of Bedford House, Covent Garden, taken down about 1690, unknown artist, after unknown artist, 1809, Engraving

Cologne from the River, Arthur Willmore, 1814–1888, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Edward I, King of England, Lord of Ireland and Duke of Aquitaine, George Vertue, 1684–1756, British, after a statue by unknown artist, undated, Engraving on medium, slightly textured, cream, laid paper, monted on, moderately thick,

North View of the Oratory of the Antient Inn, unknown artist, after Frederick Nash, 1782–1856, British, 1817, Engraving

View of the Lock Hospital and its Chapel, Kingsland, William Wise, Active 1823–1876, British, after Jacob C. Schnebbelie, 1760–1792, British, 1815, Engraving

Perugia, Print made by Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper, Image: 2 3/8 × 3 1/4 inches (6

The Distress'd Situation of the Dutton East Indiaman, Robert Pollard, 1755–1838, British, after Nicholas Pocock, 1740–1821, British, 1796, Engraving, etching, and aquatint on moderately thick, moderately textured, beige, wove paper,

A Perspective View of the South Front of Kensington Palace, John Tinney, died 1761, British, after Anthony Highmore, 1719–1799, British, 1744, Engraving

Theodorus van Lonius, Pictor Humanarum Figurarum Majorum Lovanii, 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

Four Subjects, Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, etching, stipple engraving and color woodcut on moderately thick, smooth, cream wove paper, Image: 4 7/16 x 3 1/4 inches (11.3 x 8.3 cm),

The Imports of Great Britain from France, Louis Philippe Boitard, active 1734–1760, after Louis Philippe Boitard, active 1734–1760, 1757, Hand colored engraving, Sheet: 9 7/8 x 13 7/8in. (25.1 x 35.2cm

Kensington Palace, Thomas Vivares, c.1735–c.1790, British, after Thomas Vivares, c.1735–c.1790, British, 1823, Hand colored engraving

Kolquall 1789, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Hand colored engraving

The Preposterous Head Dress, or the Feathered Lady, Print made by Matthew Darly, active 1754–1778, after Matthew Darly, active 1754–1778, 1776, Etching and stipple engraving on moderately thick, slightly textured, beige laid paper,

Bedford, Bedfordshire, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (early

Gerardus Honthorst, Hollandus Pictor Humanarum Figurarum, 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

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