Images at Librifly

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Bacharach on the Rhine, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof (early) on moderately thick, slightly textured, beige wove paper,

Male Nude from Panel of 'The Drunkeness of Noah', 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

Plate VII, Human Body, Lateral View, Print made after George Stubbs, 1724–1806, British, 1804, Stipple engraving on moderately thick, slightly textured, cream wove paper, Sheet: 26 3/4 × 20 1/4 inches (67.9 × 51.4 cm), Plate: 20 × 15

Montjen, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on medium, slightly textured, cream, wove paper, Sheet: 6 7/8 × 10 5/8 inches (17.5 × 27 cm), Plate: 5

A Prospect of the Royal House at Richmond, Print made by Jean B. C. Chatelain, 1710–1771, French, after Marco Ricci, 1676–1729, Italian, active in Britain (1708–10; 1711–16), Published by Joseph Goupy, 1689–1769, British, ca.

Caudebec, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Josiah, 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

St. Dunstan's Church, Fleet Street, George Cooke, 1781–1834, British, after David Roberts, 1796–1864, British, 1832, Engraving

St. Julian's, Tours, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, first published state

Procession of H. M. Queen Victoria, unknown artist, nineteenth century, after unknown artist, 1837, Engraving, Sheet: 5 3/4 x 7 5/8in. (14.6 x 19.4cm

The Cockpit, William Hogarth, 1697–1764, British, 1759, Engraving, Sheet: 12 1/2 x 15in. (31.8 x 38.1cm

House of Sir Paul Pindar, Bishopsgate Street Without, Print made by John Wykeham Archer, 1808–1864, British, 1843, Etching and line engraving on medium, slightly textured, cream wove paper

Townley Hall, James Basire, 1769–1822, British, after Joseph Mallord William Turner, 1775–1851, British, 1800-1801, Line engraving, published state

The South East View of Kensington Church, James Roberts the Elder, 1725–1799, British, after Jean B. C. Chatelain, 1710–1771, French, 1750, Engraving

Londres. Ville Capital du Royaume d'Angleterre, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

Set of four: 1. Hare Shooting, T. Simpson, active 1790–1814, after George Morland, 1763–1804, British, 1790, Color printed and hand colored stipple engraving, Sheet: 14 1/4 x 17in. (36.2 x 43.2cm

For Children. The Gates of Paradise, Plate 3, 'I found him beneath a Tree', 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

Venus relating to Adonis the Story of Hippomenes and Atlanta, Print made by John Hall, 1739–1797, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1769, Engraving

Pont de l'Arche, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

The Laughing Audience, William Hogarth, 1697–1764, British, 1733, Engraving, Sheet: 7 1/2 x 6 7/8in. (19.1 x 17.5cm

A view of the inside of Westminster Hall, unknown artist, eighteenth century, ca. 1700, Line engraving on slightly textured, medium thickness, white wove paper, Sheet: 8 7/8 × 11 7/8 inches (22.5 × 30.2 cm), Plate: 7 5/16 × 9 3/4 inches

Edward III, Renold Elstrack, 1570–1625(?), British, Published by Compton Holland, active 1616–d.1621, British, 1618, Line engraving on medium, slightly textured, beige laid paper, laid on mount, Sheet: 7 3/16 x 4 1/2 inches (18.2 x

Regent Street from the Circus Piccadilly, Robert Wallis, 1794–1878, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1828, Hand colored engraving

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

The Young Squire (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 wove

Three Children of Henry VII and Elizabeth His Queen, Prince Arthur, Prince Henry and Princess Margaret, George Vertue, 1684–1756, British, after Jean Maubeuge, 1470–1532, Flemish, 1748, Stipple engraving and line engraving on moderately

The Seat of St. Thomas Wilson, Bart., at Charlton in Kent, William Watts, 1752–1851, British, after Paul Sandby RA, 1731–1809, British, 1776, Engraving

Castle of Montdragon, near Orange, Print made by James C. Allen, active 1821–1831, British, after Peter DeWint, 1784–1849, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 1/2 × 17 3/8 inches

Tinmouth Castle from the North with a View of the Haven, Francois Vivares, 1709–1780, French, after Thomas Smith of Derby, ca. 1720–1767, British, 1747, Engraving tinted with watercolor, Sheet: 14 1/2 x 20 7/8in. (36.8 x 53cm

Sir James Butler, 2nd Duke of Ormonde, Simon Gribelin, 1662–1733, French, active in Britain, after Michael Dahl, 1656–1743, Swedish, active in Britain (from 1682), 1713, Etching and engraving on medium, slightly textured, cream,

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

Henry Lubomirsky as a Child, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, 1787, Stipple engraving and etching in brown ink on thick, moderately

Fontainbleau, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, (First Published State

The Campagna of Rome, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

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

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,

Secondo Tenpio De Giove in Capitolio, Print made by Marc Antonio Raimondi, ca. 1480–ca. 1534, Italian, Published by Antonio Salamanca, ca. 1500–1562, Spanish, Published by Antonio Lafreri, 1512–1577, French, 1546-1590, Line engraving

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

Naples, from the Mole, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and engraving on medium, smooth, cream, wove paper, Sheet: 10 3/4 × 15 1/8 inches (27.3 × 38.4

Bridge at Narni, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1819, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, Sheet: 11 3/4 × 16 inches

Malmaison, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, first published state

Young's Night Thoughts, Page 46, 'Where sense runs savage broke from reason's chain', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Melrose, 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

The Death Boat of Heligoland, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof, touched

Zebra, Print made by Thomas Bewick, 1753–1828, British, 1799, Wood-engraving on medium, smooth, cream wove paper, Sheet: 9 11/16 x 14 5/8 inches (24.6 x 37.2 cm), Plate: 7 x 9 1/2 inches (17.8 x 24.2 cm), and Image: 3 7/8 x 4 5/8 inches

The Resurrection of the Daisy, James Smetham, 1821–1889, British, 1861, Etching and engraving, Sheet: 3 7/8 x 5 13/16in. (9.8 x 14.8cm), religious and mythological subject

Whitehaven, Cumberland, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Manor House, St. Leonard's, Bromley, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1798, Engraving

Warner Vailliant, Vandrebanc, Francis Place, & William Lodge, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 x 9 1/4 inches (29.8 x 23.5

Lucan-House, Thomas Milton, 1743–1827, British, after John James Barralet, 1747–1815, British, 1783, Etching and line engraving

Florence from the Chiesa al Monte, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, with

Kew: The White House, Orangery, and Temple of Arethusa, Print made by William Elliot, active 1774, died 1792, British, after William Woollett, 1735–1785, British, Commissioned by Robert Sayer, 1725–1794, British, c. 1760, Engraving

At the Villa Aldobrandini at Rome, Print made by Placido Columbani, born ca. 1744, active 1801, Italian, active in Britain, after Placido Columbani, born ca. 1744, active 1801, Italian, active in Britain, Published by Isaac Taylor,

Iani Quadrifrontis Templum in Foro Boario, Print made by unknown artist, sixteenth century, after Tommaso Barlacchi, active 1540–1550, Italian, Published by Antonio Lafreri, 1512–1577, French, 1564, Line engraving on medium, slightly

The Port of Havre de Grace in the Province of Normandy in the Kingdom of France, Print made by Charles Warren, 1767–1823, British, 1793, Line engraving and etching on medium, slightly textured, cream laid paper

Helen presenting Telemachus, with the Veil, William Nutter, 1754–1802, British, after Samuel Shelley, 1750–1808, British, 1789, Stipple engraving, Sheet: 8 x 8in. (20.3 x 20.3cm), Greek mythology, religious and mythological subject,

The Tower of London, James T. Willmore, 1800–1863, British, after William Henry Bartlett, 1809–1854, British, 1842, Engraving

North View of Queen Elizabeth's Free Grammar School, Bartholomew Howlett, 1767–1827, British, after Jacob C. Schnebbelie, 1760–1792, British, 1815, Engraving

Mr. Philip Yorke, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1788, Stipple engraving on moderately thick, moderately textured, beige, laid paper,

Picturesque Views of the Antiquities of Pola in Istria, Posterior View of the Two Temples, Print made by George Cooke, 1781–1834, British, after Thomas Allason, 1790–1852, British, 1819, Etching and line engraving on medium, slightly

A Grecian Drinking Cup, Print made by Daniel Allen, active 1830s, British, after Titian, 1488/90–1576, Italian, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Palamedes Palamedessen, Præliorum Pictor in Hollandia, 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

Prospectus Majoris Vice, et Ecclesiae Sanctae Mariae in Londino, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving, Sheet: 10 x 16 1/2in. (25.4 x 41.9cm

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

Bentley, James Posselwhite, 1798–1884, British, after unknown artist, undated, Engraving, Sheet: 16 1/8 x 11in. (41 x 27.9cm

Plate 2, The Industrious 'Prentice Performing the Duty of a Christian, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching with line engraving, Sheet: 10 1/2 × 13 5/8 inches (26.7

The South Sea House in Threadneedle Street, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving on slightly textured, medium, white wove paper, Sheet: 7 1/16 × 9 3/8 inches (17.9 × 23.8 cm), architectural

An Arrival, Print made by William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

A Macarony at a Sale of Pictures, Charles Grignion, 1717–1810, British, after Michel Vincent Brandoin, 1733–1807, Swiss, Published by Robert Sayer, 1725–1794, British, and John Smith of Cheapside, active ca. 1750–1789, British,

Book of Job, Plate 9, The Vision of Eliphaz, 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 cm), Plate: 8 1/2 × 6 5/8 inches (21.6 ×

Edwin and Angelina, Robert Pollard, 1755–1838, British, 1785, Engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 18 1/8 × 22 inches (46 × 55.9 cm) and Image: 15 1/2 × 20 5/8 inches (39.4 × 52.4 cm

Geometrical Plan of his Majesty's Dockyard, at Woolwich, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Thomas Milton, active 1739–1756, British, shipping by John Cleveley the elder, ca. 1712–1777,

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,

The Destroying Angel, John Martin, 1789–1854, British, 1836, Engraving, Sheet: 21 7/16 x 30 7/16 inches (54.5 x 77.3 cm

Picturesque View near Paddington, William Angus, 1752–1821, British, after William Parsons, 1736–1795, British, 1790, Engraving

Lewisham, Samuel Noble, 1779–1853, British, after William Bonneau Noble, 1780–1831, British, 1808, Engraving, Sheet: 7 15/16 x 8 5/8in. (20.2 x 21.9cm

Moss Dale Fall, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Etching and line engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 13 5/8 × 19 1/4

Marine Study No. 4, 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,

The Sailor, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with beige, chine colle, Sheet: 17 1/2 × 12 1/16 inches (44.5 × 30.6

Hôtel de Villes, Brussels, Print made by William Woolnoth, active 1806–1830, British, Robert Batty, 1789–1848, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 7 1/4 × 10 1/8 inches (18.4 × 25.7

William of Wickham, Bishop of Winchester, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1738, Line engraving on medium, slightly textured, cream laid paper

Horses Waiting for Death, Thomas Bewick, 1753–1828, British, 1832, Wood engraving, Sheet: 8 3/4 x 11 5/8in. (22.2 x 29.5cm

Memorial Scene; Woman Reclining against Tomb, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Portraits of Her Majesty's Stag Hounds, after Richard Barrett Davis, 1782–1854, British, ca. 1840, Line engraving on medium, slightly textured, cream wove paper

Chipswood Cottage, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Here's Dada Coming. My Pretty Dada. Shoulder Arms. What Pretty Things., Print made by Bradshaw & Blacklock, active ca.1850, British, after 1850, Aquatint, stipple engraving, etching and color woodcut on moderately thick, smooth, cream wove

Cæsar Alexander Scaglia Abbas Staphardæ et Mandanices, 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

Plate 38 (page 87): 'Is lost in love! thou great PHILANTHROPIST', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, engraving

Guilielmus Hondius, Calcographus Hagæ Comitis, William Hondius, c.1597–c.1660, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving, stipple engraving and etching

Harfleur, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving (2nd state

A South View of Westminster, from the Surrey Side of the Thames, near the Nine Elms, Battlesea, Samuel Rawle, 1771–1860, British, after Robert Freebairn, 1764–1808, British, 1808, Engraving

The Prosperity of Great Britain, Contrasted with the Misery of France, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Martyn, c. 1760–1816, British, 1794, Engraving

Mercury and Argus, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Tantallon Castle, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving, engraver's proof on moderately thick, slightly textured, cream, laid paper, Sheet: 11 3/16 ×

Ludlow Castle, Shropshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

The Dreams of the Youthful Shakespeare, Print made by Augustus Augustus Henry Lane Fox Pitt-Rivers, 1827–1900, British, after Richard Westall, 1765–1836, British, Published by William Pickering, 1796–1854, British, 1827, Etching and

Dr. Johnson, Peltro W. Tomkins, 1760–1840, British, after unknown artist, undated, Engraving, Sheet: 8 1/4 x 5 1/8in. (21 x 13cm

Prospect of St. James Park from Bukingam House, Jacques Rigaud, 1681–1754, French, after Jacques Rigaud, 1681–1754, French, 1736, Hand colored engraving

No. 7 and No. 8 in the 8 stages of growth of the Surinam Frog, Archibald Robertson, 1748–1788, after James Bruce, 1730–1794, British, 1796, Engraving

View of the Chapel of St. Magdelen, Guildhall, Thomas Lord Busby, active 1804–1837, British, after unknown artist, 1812, Engraving

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