Images at Librifly

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Strasbourg, Print made by Charles Heath, 1785–1848, British, after Robert Batty, 1789–1848, British, Published by Rodwell & Martin, active 1819–1835, British, 1821, Etching and line engraving on medium, slightly textured, cream

View of London Bridge as it appeared after the Conflagration of the Temporary Bridge, April 11th, 1758, unknown artist, nineteenth century, after unknown artist, 1801, Engraving, Sheet: 8 7/8 x 13 1/8in. (22.5 x 33.3cm

Interior of Part of Crosby Hall, Called the Council Room, Samuel Rawle, 1771–1860, British, after Frederick Nash, 1782–1856, British, 1816, Engraving, Sheet: 11 1/4 x 9 3/4in. (28.6 x 24.8cm

Twickenham Meadows, John Landseer, 1769–1852, British, after John Webber, 1752–1793, British, 1803, Engraving

Friendship: Two Women in Classical Dress with a Sheep, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Marie Vigee-Lebrun, 1755–1842, French, 1782, Engraving

Launce Teaching his Dog Crab to behave as a Dog in all things - 'The Two Gentlemen of Verona, ' Act IV, Scene IV, unknown artist, after Henry William Bunbury, 1750–1811, British, 1794, Engraving and stipple engraving, Sheet: 16 1/2 x 18

George III, George Siegmund Facius, 1750–1804, Johann G. Facius, 1750–after 1802, German, after William Berczy the Elder, 1744–1813, Canadian, 1791, Stipple engraving and etching on moderately thick, moderately textured, cream laid

This Perspective View of the Magnificent Gothick Hall at Hampton Court, John Vardy, active 1736–1765, British, after John Vardy, active 1736–1765, British, 1749, Engraving

Teignmouth, Devon, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814, Etching and engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, Sheet: 13 1/4

Wouski, James Gillray, 1757–1815, British, 1788, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Ilfracombe, North Devon, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Etching and engraving, first published state on moderately thick, slightly textured, cream, wove

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

Queen Elizabeth, Thomas Anthony Dean, 1801–1860, British, after William Derby, 1786–1847, British, c. 1825, Engraving, collar, Feather, gown, Pearls, portrait

The Arch of Titus, Ebenezer Challis, active 1837–1859, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Pembroke Town and Castle, James Mason, 1710–1783, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1775, Line engraving and etching with hand coloring on moderately thick, moderately textured, cream

Canonbury Tavern, unknown artist, after unknown artist, 1819, Engraving, Sheet: 7 x 6 13/16in. (17.8 x 17.3cm

Berwick on Tweed, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Plate 2 (page 1): 'Swift on his downy pinion flies from woe', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Loch Lomond, Print made by James Heath, 1757–1834, British, after Joseph Mallord William Turner, 1775–1851, British, P Brookes, active 1747, British, 1805, Line engraving, first published state

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

Robert Williams, Edward Harding, 1755–1840, British, after Sylvester Harding, 1745–1809, British, Published by Edward Harding, 1755–1840, British, and Sylvester Harding, 1745–1809, British, 1796, Stipple engraving with etching

Geometrical Plan of his Majesty's Dockyard, at Chatham, 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,

Tharte Palace in Surrey, The Seat of Signor Piozzi, William Ellis, 1747–1810, British, after William Ellis, 1747–1810, British, 1787, Engraving, Sheet: 5 15/16 x 7 1/2in. (15.1 x 19.1cm

Henry VI, Part I: Act II, Scene IV, London. The Temple Garden., John Ogborne the Elder, 1755–1795, British, after Josiah Boydell, 1752–1817, British, 1803, Engraving, Sheet: 17 1/4 x 23 1/4in. (43.8 x 59.1cm

Mrs. Lister, Print made by Samuel Cousins, 1801–1887, British, after Gilbert Stuart Newton, 1794–1835, British, Published by Colnaghi Son & Co., established 1760, active ca. 1785–1911, Italian, active in Britain, and Frances Graham

The right Hon'ble James, Lord de Saumarez, G.C.B.K.S., Admiral of the Red, and General of Marines..., Henry Ryall, 1811–1867, British, after Samuel Lane, 1780–1859, British, 1840, Stipple engraving, proof, Sheet: 27 1/2 x 17 1/2in.

Robert Cleveley, Esqr. Marine Painter to his R. H., The Prince of Wales and Marine Draftsman to his R. H. The Duke of Clarence, Print made by Samuel Freeman, 1773–1857, British, after Sir William Beechey, 1753–1839, British, 1810,

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

Benjamin Hoadly, Bishop of Winchester, James Basire, 1769–1822, British, after Nathaniel Hone RA, 1718–1784, Irish, 1771, Etching and engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 12 15/16 × 8 1/4

The Phoenix or the Resurrection of Freedom, James Barry, 1741–1806, Irish, 1776, Engraving and aquatint , published state, Plate: 17 x 24 1/8in. (43.2 x 61.3cm) and Sheet: 18 x 25 1/8in. (45.7 x 63.8cm), religious and mythological subject

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

Henry VI, Renold Elstrack, 1570–1625(?), British, Published by Compton Holland, active 1616–d.1621, British, 1618 or 1628, Line engraving on medium, slightly textured, beige laid paper, Sheet: 7 1/16 x 4 1/2 inches (17.9 x 11.4 cm) and

Hay Makers in a Storm, Charles Knight, 1743–c.1826, British, after Richard Westall, 1765–1836, British, 1798, Colored stipple engraving, Sheet: 20 1/4 x 15 1/2in. (51.4 x 39.4cm

Pantheum Romanum nunc Mariae Cognomento, Print made by Nicolas Beatrizet, 1507 or 1515–ca. 1565, French, Published by Nicolaus van Aelst, ca. 1527–1613, Flemish, Published by Antonio Lafreri, 1512–1577, French, between 1546 and 1590,

The Royal Palace of Windsor, Thomas Major, 1714–1799, British, after Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), 1745, Engraving on medium, slightly textured, beige, laid paper, mounted on,

Oliver Goldsmith and Canonbury Tower, Isington, Middlesex, J. Rogers, active ca.1825–ca.1842, after unknown artist, undated, Engraving, Sheet: 7 3/4 x 5 1/16in. (19.7 x 12.9cm

Reverend Timothy Dwight, D.D., President of Yale College, Print made by Samuel Freeman, 1773–1857, British, after unknown artist, undated, Stipple engraving and etching on medium, slightly textured, cream wove paper, Sheet: 8 5/16 x 5

Evening, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1755, Etching and line engraving with hand coloring on moderately thick, moderately

Nature display'd, shewing the Effect of the change of the Seasons on the Ladies garden, James Gillray, 1757–1815, British, 1797, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Louisa, Print made by William Ward, 1766–1826, British, after William Ward, 1766–1826, British, Published by John Raphael Smith, 1752–1812, British, 1786, Stipple engraving and softground etching (1st state) on moderately thick,

Calais Pier, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving, proof

The Northeast Prospect of the Church of St. Botolph Without Aldersgate, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1737, Engraving, Sheet: 12 1/2 x 14in. (31.8 x 35.6cm

Alphonso and Aciloe, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Johann Heinrich Ramberg, 1763–1840, German, active in Britain (1781–88), Published by Mary Ryland, 1759–1817,

Rabbits (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 paper,

St. Julienne's Chapel, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with beige, chine colle, Sheet: 17 1/8

North East view of Billingsgate, Thomas Lord Busby, active 1804–1837, British, after C. John M. Whichelo, 1784–1865, British, 1812, Engraving on slightly textured, medium, cream wove paper, Sheet: 6 3/8 × 10 1/8 inches (16.2 × 25.7

Plymouth, Devonshire, William John Cooke, 1797–1865, Irish, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 1st state on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet:

Roslin Castle, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

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

Jacob's Vision, Genesis 28, v. II, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Lodovico Carracci, 1555–1619, Italian, 1797, Engraving

Illustrations of Imitation of Eclogue I, Frontispiece, William Blake, 1757–1827, British, Published by Robert John Thornton, 1768–1837, British, 1821, Wood-engraving and letterpress on medium, slightly textured, cream wove paper,

Inside of the Collegiate Church of St. Catherine, James Roberts the Elder, 1725–1799, British, after John Carter, 1748–1817, British, 1781, Engraving, Sheet: 15 3/4 x 13 9/16in. (40 x 34.4cm

A View of the Right Honorable the Earl of Burlington's House at Chiswick, taken from the Road., Print made by unknown artist, eighteenth century, after John Donowell, active 1753–1786, ca. 1753, Engraving, Plate: 10 1/4 x 16 3/8in. (26 x

The Globe Theatre, unknown artist, after Wenceslaus Hollar, 1607–1677, Bohemian, 1810, Engraving, Sheet: 12 5/8 x 10 1/4in. (32.1 x 26cm

Rokeby, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, 1813, Etching and line engraving on chine collé laid down on wove paper., Image: 4 3/4 x 3 1/2in. (12.1 x 8.9cm) and Sheet: 17 x 11 3/4in. (43.2 x

Seat of the Right Honorable, the Earl of Harcourt at Nuneham, with a distant View of Oxford, Print made by Michael 'Angelo' Rooker, 1746–1801, British, after Paul Sandby RA, 1731–1809, British, 1775, Line engraving on medium,

Instruments of Music, Pandean Minstrels in Performance at Vauxhall, John Lee, active 1794–1798, after Edward Francis Burney, 1760–1848, British, 1806, Engraving, leisure, England, Lambeth, London, Southwark, United Kingdom,

A View of the Tower with the Bridge and Part of the City of London from the River, John S. Muller, ca. 1715–1792, German, active in Britain, after John Maurer, active 1713–1761, 1753, Engraving

Abraham and Isaac, Ancestors 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

Banditti (vignette), Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving, with scraping out and graphite; engraver's proof (a) on medium, slightly

No. 1 - A Table of Hieroglyphics found at Axum, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1771-1789, Engraving

Henry VI, Part III: Act II, Scene V, A Field of Battle near Towton . . ., John Ogborne the Elder, 1755–1795, British, after Josiah Boydell, 1752–1817, British, 1803, Engraving, unfinished state, Sheet: 17 3/8 x 23 1/4in. (44.1 x

St. Anne's Hill, No. 1, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st state on moderately thick, slightly textured, beige, wove paper, Sheet: 11 5/8 ×

Virginia Water No. 1, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1832, Line engraving, first published state on medium, smooth, cream, wove paper, with gray, chine colle, Sheet:

Aldgate Ward with its Division into Precincts and Parishes, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving

Rietz near Saumur, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof (early) on medium, smooth, gray, wove paper, Sheet: 6 1/8 × 8 7/16 inches (15.6

A View in Perspective. The Zenith of French Glory. The Pinnacle of Liberty., James Gillray, 1757–1815, British, 1793, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

To his Grace the Duke of Newcastle, this print of The Return from Shooting, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), and Samuel Alken, 1756–1815, British, after Francis Wheatley,

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

Noon, 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,

Salt Tower, Tower of London, Print made by John Wykeham Archer, 1808–1864, British, 1846, Etching, line engraving, and roulette on medium, slightly textured, cream wove paper

St. Sophia, Constantinople, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, third state on thick, slightly textured, beige, wove paper, with beige, chine

Dr. Johnson's Monument, James Basire, 1730–1802, British, after unknown artist, undated, Engraving, Sheet: 8 3/4 x 5 1/2in. (22.2 x 14cm

Jericho, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

St. Dunstan's in the East, from the Customs House, Print made by George Cooke, 1781–1834, British, after Edward William Cooke, 1811–1880, British, Published by Longman, active 1804–1914, British, 1828, Etching and line engraving on

G. F. Handel, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1784, Line engraving, Sheet: 12 x 9 1/2in. (30.5 x 24.1cm

The Print of John Musters, Esq. and His Hounds, Charles E. Wagstaff, 1808–, after Richard Barrett Davis, 1782–1854, British, 1847, Hand colored stipple engraving, Sheet: 21 x 27in. (53.3 x 68.6cm

First Stage of Cruelty, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1807, Etching and line engraving on medium, slightly textured, cream

Part of Waterloo Bridge with the Shot Tower, &c., Print made by George Cooke, 1781–1834, British, after Clarkson Stanfield, 1793–1867, British, Published by Longman & Co., active 1804–1914, British, Published by John & Arthur Arch,

Sir Anthony van Dyck, Print made by John Corner, 1788–1825, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), Published by Longman, Hurst, Rees, Orme & Brown, active 1804–1914,

Lesnes Abbey, William Angus, 1752–1821, British, after Charles Tomkins, 1757–1823, British, 1801, Engraving

Marie Antoinette, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Pierre N. Violet, 1749–1819, French, 1790, Mezzotint and stipple engraving on medium, moderately textured, cream laid

Leaving Home, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on moderately thick, slightly textured, beige, wove paper, with beige, chine colle, Sheet: 17 1/4

Come Gentle Night: 'Romeo and Juliet, ' Act III, Scene II, Print made by James H. Baker, born 1829, after Alfred Joseph Woolmer, 1805–1892, British, between 1839 and 1849, Stipple engraving, line engraving, and etching on moderately

William Shakspeare, James Neagle, 1760–1822, British, 1803, Line engraving on laid paper, Sheet: 8 1/4 x 5 1/4in. (21 x 13.3cm

Tradescant's House at South Lambeth, J. Caulfield, 1764–1826, British, after J. Caulfield, 1764–1826, British, 1798, Engraving

John Dryden, Print made by George Vertue, 1684–1756, British, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1730, Line engraving on medium, slightly textured, cream wove paper

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

Christ's Hospital, London, John Record, active 1768–1784, after John Record, active 1768–1784, 1784, Engraving, Sheet: 4 1/4 x 6 3/16in. (10.8 x 15.7cm

Chairing the Members, Plate IV, William Hogarth, 1697–1764, British, And François Antoine Aveline, 1727–1780, French, after William Hogarth, 1697–1764, British, 1758, Engraving, Sheet: 15 5/8 x 21 1/4in. (39.7 x 54cm

View of the Vauxhall Iron Bridge, unknown artist, nineteenth century, after unknown artist, 1816, Engraving, Sheet: 13 11/16 x 20in. (34.8 x 50.8cm

Bethlam Hospital, Thomas Bowles, ca. 1712–died 1753, British, after unknown artist, undated, Engraving

Colosseum, Interior, Print made by unknown artist, Published by Antonio Lafreri, 1512–1577, French, 1546-1590, Line engraving on medium, slightly textured, cream laid paper

A View of the Iron Bridge, James Fittler, 1758–1835, British, after George Robertson, 1749–1788, British, 1788, Engraving, Image: 13 7/8 x 20 5/8in. (35.2 x 52.4cm), Sheet: 17 5/8 x 24 3/4in. (44.8 x 62.9cm), and Plate: 15 3/4 x 21

Illustration from Orlando Furioso: 'Che debbo far? che poss'io far qui sola? / che mi da ajuto, oime, che mi consola?', Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA,

Lucy, Mrs. Wheatley, R. Stanier, 18th century, after Francis Wheatley, 1747–1801, British, 1788, Colored stipple engraving, Sheet: 10 1/2 x 12in. (26.7 x 30.5cm

Jacob, 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

A. N. E. View of Cheapside with the Cross & ......, unknown artist, nineteenth century, after unknown artist, 1809, Engraving, Sheet: 10 3/8 x 13 1/4in. (26.4 x 33.7cm

Paris from Pere-la-Chaise, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, first published state

A-Hunting We Will Go, 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 medium, slightly textured, cream wove paper, Sheet: 4

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