Images at Librifly

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Martigny (vignette), Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper

The Royal Foundery, Woolwich, James Fittler, 1758–1835, British, after Paul Sandby RA, 1731–1809, British, 1779, Engraving

Mount St. Michael, Cornwall, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

George Vertue, Engraver, Print made by James Basire, 1769–1822, British, after Jonathan Richardson the Elder, 1667–1745, British, Published by Nichols & Son (1812), 1745–1826, British, 1812, Etching and line engraving on medium,

The Queens Palace, unknown artist, eighteenth century, after unknown artist, 1794, Engraving, Sheet: 6 5/8 x 6 1/2in. (16.8 x 16.5cm

Folkestone, Harbour, and Coast to Dover, Kent, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving and etching, 2nd state on moderately thick, slightly textured, cream,

David Hume, Esq., Page, fl. 1784–1803, after Sir Joshua Reynolds RA, 1723–1792, British, 1825, Engraving

The Right Honorable William Pitt, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Gainsborough Dupont, 1754–1797, British, Published by Benjamin Beale Evans, ca. 1765–1824, British,

The Third Stage of Cruelty: Cruelty in Perfection - The Murder, 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),

Capel House Enfield Outer Suburb - North, Thomas Barber, ca. 1768–1843, British, after unknown artist, ( Isaac Ball ), undated, Engraving

Marche aux Fleurs and Pont-au-Change, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, third state on Not signed

General Washington, Print made by Thomas Cheesman, 1760–1834/35, British, after John Trumbull, 1756–1843, American, 1796, Stipple engraving and etching with hand coloring in watercolor on medium, slightly textured, cream wove paper,

Dr. John Fothergill, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Livesay, 1753–1826, British, 1782, Stipple engraving in brown ink on moderately thick, moderately textured,

Veue de St. James's Park pris de Rosamond's Pond, William Henry Toms, ca. 1700–ca. 1750, British, after Jean B. C. Chatelain, 1710–1771, French, 1745, Hand colored engraving

Thorp Cloud &c., Pyramid Mountain in Derbyshire, James Mason, 1710–1783, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1751, Hand-colored engraving and etching, Sheet: 15 1/2 x 21 1/2in. (39.4 x 54.6cm

Palace of La Belle Gabrielle, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1837, Line engraving, engraver's proof on thick, slightlly textured, beige, wove paper, with gray, chine

Portrait of J.M.W. Turner, Print made by William Holl, 1807–1871, British, after Joseph Mallord William Turner, 1775–1851, British, Published by Virtue, active 1820s–1908, British, undated, Line engraving, stipple engraving and

William Blake, William Camden Edwards, 1777–1855, British, after Thomas Phillips, 1770–1845, British, Published by John Murray, 1802–1892, British, 1830, Line engraving and etching on moderately thick, slightly textured, cream wove

Dartmouth, Devon, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814, Etching and engraving, engraver's proof on moderately thick, slightly textured, beige, wove paper, with

Taming of the Shrew, Act II Scene II, Peter Simon, 1750–1810, after Francis Wheatley, 1747–1801, British, 1795, Stipple engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 22 7/16 × 28 inches (57 × 71.1

Christ Church College, Oxford, James Redway, active 1827–1838, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Plate III: Crypt under St Stephen's Chapel, Print made by Thomas A. Woolnoth, 1785–1857, British, after Robert William Billings, 1813–1874, British, ca. 1836, Engraving proof on smooth, moderately thick, white wove paper, Sheet: 5 1/4

Thomas Holles, Duke of Newcastle, Print made by Edward Harding, 1755–1840, British, after William Nelson Gardiner, 1766–1814, Irish, 1802, Stipple engraving on medium, slightly textured, cream wove paper

These Alms Houses Built and Endowed by William Meggs, Esquire, Anno 1658, unknown artist, ( Cook ), after Jacob C. Schnebbelie, 1760–1792, British, 1819, Engraving

St. Julian's, Tours, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving on moderately thick, slighlty textured, cream, wove paper, Sheet: 6 3/4 × 9 5/8 inches

Remains of St. Barts Priory, John Greig, active 1800–1853, British, after John Greig, active 1800–1853, British, 1805, Engraving, Sheet: 10 3/4 x 8 7/16in. (27.3 x 21.4cm

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

Mantes, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving

An Iron Work for Casting of Cannon, Wilson Lowry, 1762–1824, British, after George Robertson, 1749–1788, British, 1788, Engraving, Image: 13 5/8 x 20 3/8in. (34.6 x 51.8cm), Sheet: 17 1/2 x 23 1/2in. (44.5 x 59.7cm), and Plate: 16 x 21

Verrio, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 12 x 9 1/4 inches (30.5 x 23.5 cm), Plate: 7 1/4 x 5 3/8 inches (18.4 x 13.7 cm), and Image:

Chateau de Tancarville, with Town of Quilleboeuf, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and line engraving, Sheet: 5 13/16 x 9in. (14.8 x 22.9cm

Prince Serge and Princess Barbara Gagarin, with their son, Prince Nicholas, Caroline Watson, 1760–1814, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1785, Stipple Engraving, and aquatint on thick, rough, cream, laid

George Colman, The Elder, Edward Scriven, 1775–1841, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1813, Stipple engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 16 1/4 × 13 inches (41.3 ×

Mail Coach, James Fittler, 1758–1835, British, after George Robertson, 1749–1788, British, Published by James Fittler, 1758–1835, British, ca. 1787, Etching and stipple engraving on moderately thick, slightly textured, beige wove

Blackwell's Military Figures, Plate I, Pikemen, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1809, Engraving

Mrs. Fitzherbert, Print made by John Condé, 1765–1794, French, active in Britain, after Richard Cosway, 1742–1821, British, 1792, Stipple engraving and line engraving on medium, slightly textured, cream laid paper, Sheet: 23 × 17

William Sharp, Print made by William Sharp, 1749–1824, British, after George Francis Joseph, 1764–1846, Irish, 1817, Etching and line engraving on medium, slightly textured, cream wove paper with cream chine-collé, Sheet: 21 1/2 × 17

Boit. Baker., Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 x 9 inches (29.8 x 22.9 cm), Plate: 7 3/8 x 5 1/2 inches (18.7 x 14 cm), and

Havre, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, first published state on thick, slightly textured, beige, wove paper, with gray chine colle, Sheet: 11 3/8 ×

Dido Building Carthage, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Placenza, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving (First Published State

The Good Samaritan, Simon Francois Ravenet, 1721–1774, French, active in Britain, and Jean Marie Delatre, 1746–1840, French, after William Hogarth, 1697–1764, British, 1772, Line engraving on moderately thick, slightly textured,

Lincoln's Inn Hall, Chapel and Chancery Court, W. Watkins, active 1828–1830, after Thomas Hosmer Shepherd, 1792–1864, British, 1830, Engraving

Orleans, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, Sheet: 7 7/8 × 11 inches (20 × 27.9 cm), Plate: 5 7/8 × 9 inches (14.9 × 22.9 cm), Chine collé: 5 1/2 × 8

Saint Denis, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, third state

The South Prospect of the Church of St. Alphage, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1736, Engraving, Sheet: 12 x 13 1/16in. (30.5 x 33.2cm

Views of the Cities of Westminster and London taken from the Opposite Bank of the Thames, Samuel Buck, 1696–1779, British, And Nathaniel Buck, active 1727–1753, after Samuel Buck, 1696–1779, British, And after Nathaniel Buck, active

A View of Chelsea, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 6 3/4 x 10 1/4in. (17.1 x 26cm

Sion College, unknown artist, after unknown artist, 1800, Engraving

View of the Feathers Tavern, Cupers Bridge, Lambeth, Bartholomew Howlett, 1767–1827, British, after unknown artist, ( De Corte ), 1825, Engraving

The Birdcage, Charles H. Jeens, 1827–1879, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Drummer, Francis David Soiron, Born 1764, after Henry William Bunbury, 1750–1811, British, c. 1791, Stipple engraving, Sheet: 16 1/4 x 11 1/2in. (41.3 x 29.2cm

Abingdon, Charles Cousen, 1813?–1889, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Trade card for Chartes Sharp Perfume and Razor Makers 131 Fleet Street and S. Cornhill, Garnet Terry, active 1780–1796, after unknown artist, c.1770, Engraving

Demolition of the Great or Chapel Pier of Old London Bridge, Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1852, Hand colored engraving, Sheet: 12 3/4 x 16in. (32.4 x 40.6cm

Artus Wolfart, Pictor Humanarum Figurarum Antuerpiæ, Cornelius Galle, 1576–1650, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple engraving and line

The Globe Theatre (from a View about 1612), unknown artist, nineteenth century, after unknown artist, 1810, Engraving, Sheet: 7 11/16 x 9 7/16in. (19.5 x 24cm

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,

William Tell's Chapel (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 wove

Britannia rewarding Music and Literature, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1792, Engraving

Nisser Werk, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1798, Engraving

The Dead Sea, Jericho and the Mouth of the Jordan, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Edinburgh from Blackford Hill, 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

Crosby Hall, Bishopsgate Street, James Tingle, active ca. 1830–1860, after Thomas Hosmer Shepherd, 1792–1864, British, 1830, Engraving, Sheet: 8 1/2 x 10in. (21.6 x 25.4cm

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

Edward IV King of England and France, Lord of Ireland, George Vertue, 1684–1756, British, after George Vertue, 1684–1756, British, after unknown artist, 1732, Engraving on medium, slightly textured, cream, laid paper, mounted on,

Hungerford Market, Thomas Barber, ca. 1768–1843, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1830, Engraving on smooth, moderately thick, cream wove paper, Sheet: 6 7/8 × 11 13/16 inches (17.5 × 30 cm), Plate: 5 3/4

Covent Garden Piazza, Edward Rooker, 1724–1774, British, after Thomas Sandby RA, 1721–1798, British, 1777, Engraving, Sheet: 16 1/4 x 22in. (41.3 x 55.9cm

The Ring, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-coll

Young's Night Thoughts, Page 63, 'This King of Terrors is the Prince of Peace', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Vol. 6, Plate XXXII: The Story of Hezekiah., Print made by James Basire, 1769–1822, British, after Charles Alfred Stothard, 1786–1821, British, 1842, Hand colored engraving on smooth, moderately thick, white wove paper, Sheet: 15 1/8

Sir Joshua Reynolds, Edward Edwards, 1738–1806, British, undated, Etching and stipple engraving on medium, slightly textured, cream, wove paper, Sheet: 8 1/16 × 5 5/8 inches (20.5 × 14.3 cm), Plate: 6 7/16 × 4 7/8 inches (16.4 × 12.4

Southwark Fair, Print made by William Hogarth, 1697–1764, British, 1733, Engraving, Sheet: 13 7/16 × 17 3/4 inches (34.1 × 45.1 cm), caricature, fair, genre subject

The Nightingale, 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, blued white wove paper,

Baroness Howe's Villa & Pope's Grotto, James C. Allen, active 1821–1831, British, after unknown artist, ( G. Barett ), undated, Engraving

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

Plan and View of the Vaults of Crosby Hall, William Wise, Active 1823–1876, British, after Frederick Nash, 1782–1856, British, 1816, Engraving, Sheet: 10 5/8 x 14 5/8in. (27 x 37.1cm

Stoke Church, Bucks, Environs - West, James S. Storer, 1771–1853, British, after Joseph Powell, 1780–1834, British, 1805, Engraving

A set of seven, untitled, each dedicated: To the Right Hon'ble. Thomas Lord Viscount Weymouth...from the Original Painting in Long Leat Hall. The kill: two riders dismounted, one holding fox above clamouring hounds; the huntsman blowing his horn

Plate XI: St Stephen's Chapel, Print made by James Basire, 1769–1822, British, after John Topham, 1746–1803, British, Formerly unknown artist, 1795, Line engraving on slightly textured, moderately thick, white wove paper, Sheet: 16 ×

Medallion: Head of a Warrior as Perseus, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Jaffa, the Ancient Joppa, Print made by William Wallis, 1794– active 1830, William Henry Bartlett, 1809–1854, British, Published by Fisher, Son & Co., active 1821–1848, British, 1846, Line engraving on medium, slightly textured,

Rolandseck (Vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Engraving

Venice - the Piazzetta, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1853-1874, Line engraving; engraver's proof on moderately thick, slightly textured, cream wove paper with

Head of a Female Moor, 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 Most Noble Henry Pelham Duke of Newcastle K.G., after Henry William Pickersgill, 1782–1875, British, Published by Virtue, active 1820s–1908, British, 1836, Stipple engraving and line engraving on moderately thick, smooth, cream wove

Wycliffe, near Rokeby, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1823, Line engraving and etching on moderately thick, slightly textured, cream, laid paper, Sheet: 10 15/16 × 16 1/2

The Old Bridge at Stratford-le-Bow, James S. Storer, 1771–1853, British, after James S. Storer, 1771–1853, British, 1804, Engraving, Sheet: 7 7/8 x 9 3/4in. (20 x 24.8cm

A Hunting Piece in the Hunting Hall at Houghton, Daniel Lerpiniere, c.1745–1785, British, after John Wootton, 1682–1764, British, 1778, Engraving with cartouche in center of publisher's line, Sheet: 17 x 23in. (43.2 x 58.4cm

Lac de Gaube, Pyrenees, 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 on medium, slightly textured,

Château of Amboise, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and line engraving, touched proof on thick, slightly textured, cream, wove paper, Sheet: 8 5/8 × 12

Advertisement for a Fire Escape, Richard Newman, 1805, Engraving

Eastern Side of the Cloisters and Vaulted Passage of St. Barts, James S. Storer, 1771–1853, British, after James S. Storer, 1771–1853, British, 1805, Engraving, Sheet: 12 1/2 x 9in. (31.8 x 22.9cm

Robert Smirke, Esq., R. A., Charles Picart, c.1780–1837, British, after John Jackson, (drawing), 1778–1831, British, after Mary Smirke, (painting), 1779–1853, British, 1814, Stipple engraving, Plate: 17 5/8 x 13 3/8in. (44.8 x

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

Ham Court, the Seat of John Martin, Esq., Print made by James Caldwall, 1739–1819, British, undated, Etching and line engraving on medium, slightly textured, cream wove paper, Sheet: 11 1/4 x 10 1/4 inches (28.6 x 26 cm), Plate: 9 5/16 x

Daniel O'Connell, Esqr., Print made by Robert Cooper, ca. 1800–1836, British, after Stephen Catterson Smith, 1806–1872, Irish, Published by J. Robins & Co., active 1825, British, 1825, Line engraving, stipple engraving, crayon

Sir Christopher Hatton, Edward Scriven, 1775–1841, British, after William Hilton, 1752–1822, British, OR after William Hilton, 1786–1839, British, 1823, Engraving on medium, slightly textured, beige, wove paper, mounted on,

Greenwich Hospital, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, 1st state on moderately thick, slightly textured, beige, wove paper, Sheet: 11 5/8 × 6 3/8 inches

N.W. View of Wakefield Lodge, the Seat of his Grace the Duke of Grafton, Print made by Michael 'Angelo' Rooker, 1746–1801, British, after Paul Sandby RA, 1731–1809, British, Published by George Kearsley, 1758–1813, British, 1776,

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