Images at Librifly

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Portrait of a Man wearing a Cap, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Thomas Hearne, 1744–1817, British, 1790, Engraving

Mrs. Siddons, Print made by Peltro W. Tomkins, 1760–1840, British, after John Downman, 1750–1824, British, undated, Stipple engraving on moderately thick, moderately textured, cream laid paper, Sheet: 10 7/8 × 8 5/16 inches (27.6 ×

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

A View of the Gate of the Tomb of the Emperor Akbar, at Secundru, Print made by John Browne, 1741–1801, British, after William Hodges, 1744–1797, British, Published by William Hodges, 1744–1797, British, 1786, Engraving, Sheet: 21

Carlton House, unknown artist, nineteenth century, after unknown artist, 1825, Engraving, Sheet: 6 1/2 x 6in. (16.5 x 15.2cm

Clerks-Well, Bartholomew Howlett, 1767–1827, British, after unknown artist, ( H. Gardner ), 1822, Engraving, Sheet: 13 x 10 3/8in. (33 x 26.4cm

Nemi, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1840, Line engraving, (First Published State), Sheet: 9 3/8 x 13 1/2in. (23.8 x 34.3cm

The Inside View of the Royal Exchange at London, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Portrait Bust of John Milton, unknown artist, 1767, Engraving, Sheet: 8 1/16 x 11 1/8in. (20.5 x 28.3cm

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,

New Houses of Parliament; View of the Adopted Design, unknown artist, ( S. Dick ), after Sir Charles Barry, 1795–1860, British, 1837, Hand colored engraving

Queen Margaret Protected by a Robber, 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, slightly

Taming the Shrew, Act III, Scene II, William S. Leney, 1769–1831, British, after Henry William Bunbury, 1750–1811, British, 1793, Engraving and stipple engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 16

Archery, after James Heath, 1757–1834, British, after Joseph Slater, c. 1750– died after 1789, 1789, Hand colored engraving, Sheet: 17 x 23 3/4in. (43.2 x 60.3cm

View of Mount Edgecumbe from the Blockhouse, James Mason, 1710–1783, British, after Samuel Scott, 1701/2–1772, British, after George Lambert, 1700–1765, British, undated, Colored engraving on thick, rough, cream, laid paper,

William Aikman, Print made by Samuel Freeman, 1773–1857, British, after William Aikman, 1682–1731, British, Published by Blackie & Son, active 1833–1870, British, undated, Stipple engraving and etching on moderately thick, smooth,

Dieppe, Print made by Samuel Rawle, 1771–1860, British, Published by James Asperne, 1757–1820, British, undated, Line engraving on medium, slightly textured, cream wove paper

Graville, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving

Plate 26 (page 49): 'As if the sun could envy, check'd his beam', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Sir William Temple, first Baronet, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1738, Line engraving on moderately thick, slightly textured, cream laid

The Departure (Second Class), William Henry Simmons, 1811–1882, British, after Abraham Solomon, 1824–1862, British, 1857, Mixed-media engraving, hand-colored on thick, slightly textured, cream, wove paper, Sheet: 21 1/2 × 29 1/2

Plate VII: representing Winding, Warping with a new improved Warping Mill, and Weaving, William Hincks, 1752–1797, after William Hincks, 1752–1797, 1791, Stipple engraving

Cartoon showing Charles II and the Fire, unknown artist, seventeenth century, after unknown artist, undated, Engraving

The Dead Soldier, James Heath, 1757–1834, British, after Joseph Wright of Derby, 1734–1797, British, active in Italy (1773–75), 1797, Stipple engraving, Sheet: 17 1/8 x 23 1/2in. (43.5 x 59.7cm

The Days of Noah, All things continue as they were, James Smetham, 1821–1889, British, 1860, Etching and engraving, Sheet: 6 1/2 x 4 1/4in. (16.5 x 10.8cm

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

Key to Life School at the Royal Academy, Print made by unknown artist, key after Johan Joseph Zoffany RA, 1733–1810, German, active in Britain (from 1760), 1794, Line engraving on medium, slightly textured, cream laid paper, Sheet: 10 1/8

Tynemouth, Northumberland, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1831, Etching and line engraving, Engraver's proof on moderately thick, smooth, cream, wove paper, with gray, chine

St. Julian's, Tours, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving (First Published State) on medium, smooth, cream, wove paper, Sheet: 6 7/8 × 10 9/16

A View of St. James's Palace Pall Mall, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1771, Engraving

Lord Chatham is represented Holding Cap of Liberty, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Bacon, 1740–1799, British, 1779, Engraving

A View of the Royal Hospital at Chelsea and the Rotunda in Ranelagh Gardens, Henry Roberts, c.1710–1790, after unknown artist, undated, Hand colored engraving, Sheet: 10 3/4 x 16 5/8in. (27.3 x 42.2cm

Warwick Castle, The Seat of the Rt. Honble. the Earl of Warwick, Print made by John J. Hinchliff, 1805–1875, British, after John Brandard, 1812–1863, British, undated, Etching and line engraving on medium, slightly textured, cream wove

The Tempest, Act I Sc. 3, Print made by William Sharp, 1749–1824, British, after Michael 'Angelo' Rooker, 1746–1801, British, 1783, Engraving, literary theme, The Tempest, play by William Shakespeare, theater (discipline

His Royal Highness George Prince of Wales, Print made by John Condé, 1765–1794, French, active in Britain, after Richard Cosway, 1742–1821, British, Published by Peter Condé, 1767/8–1840, French, active in Britain, 1794, Line

One of Six Remarkable Views in the Provinces of New York, New Jersey and Pennsylvania from SCENOGRAPHI AMERICANA: A View of the Great Cohoes on the Mohawk River; The Fall of about Seventy Feet; the River near a Quarter of a Mile Broad., William

Plan of Part of the City of Westminster, unknown artist, after Ralph Aggas, 1540?–1621, 1807, Engraving

Winchelsea, Sussex, J. Henshall, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

For the Sexes: The Gates of Paradise, Plate 10, 'My son! my Son!', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 13 3/4 inches (34.9 cm),

Samuel Scott, John Faber the Younger, ca. 1695–1756, Netherlandish, active in Britain, after Thomas Hudson, 1701–1779, British, between 1731 and 1733, Mezzotint on moderately thick, slightly textured, cream laid paper, Sheet: 12 7/16

Celadon and Amelia, Engraved by William Woollett, 1735–1785, British, Etched by John Browne, 1741–1801, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1766, Line engraving and etching on

Weathercote Cave when Half Filled with Water, Samuel Middiman, ca. 1750–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching, engraver's proof on moderately thick, slightly textured,

The North West Prospect of Greenwich in the County of Kent, Nathaniel Buck, active 1727–1753, after Samuel Buck, 1696–1779, British, 1739, Engraving

Plate 27 (page 54): 'The vale of death! that hush'd cimmerian vale', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Sir Richard Steele, Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1748, Engraving; Proof before letters, with engraver's name and date only, Sheet: 18 1/2 x 11

The Lively Portraiture of John Felton who Most Miserably Kild sic the Right Hon. George Villiers of Buckingham. August ye 23, 1628. 1830, after Richard Sawyer, active 1820–1830, after unknown artist, 1830, Engraving on medium, slightly

Vol. 6, Plate XXVI: Chapel of St Stephen, Chapel of St Mary in the Vaults, Print made by James Basire, 1769–1822, British, after Frederick Mackenzie, 1788–1854, British, 1842, Engraving on smooth, moderately thick, white wove paper

St. Julian's, Tours, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, engraver's proof

Obelisk at Axum, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Columbus and his Son, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, cream, wove paper, with gray, chine colle, Sheet: 17 3/16 ×

Falstaff Examining His Recruits, 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,

Designs for the Great Room of the Society of Arts (4 of 1 sheet), James Mitan, 1776–1822, British, after James Barry, 1741–1806, Irish, 1808, Engraving, Sheet: 3 7/8 x 3 7/8in. (9.8 x 9.8cm

Charles I, Print made by William Faithorne, ca. 1620–1691, British, 1658, Line engraving on medium, slightly textured, cream laid paper, Sheet: 10 1/2 x 6 3/4 inches (26.7 x 17.1 cm) and Image: 9 1/2 x 6 3/8 inches (24.1 x 16.2 cm), armor,

Dr. Samuel Johnson, Thomas Trotter, ca. 1750–1803, British, after unknown artist, undated, Engraving, Sheet: 8 3/4 x 5 3/4in. (22.2 x 14.6cm

Richmond, Yorkshire, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, 3rd state on moderately thick, slgitly textured, cream, wove paper, Sheet: 10 5/8 × 15 1/8

Studies for the Instruction of Painters, two suites. Rome, c. 1630, Print made by Francesco Curti, 1610–1690, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Domenico de Rossi, active 17th century, Italian,

1. Going Out / Depart de Chasse, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after John Wootton, 1682–1764, British, 1770, Engraving, Sheet: 19 3/4 x 15 3/4in. (50.2 x 40cm

The Invasion, Plate II, England, after William Hogarth, 1697–1764, British, 1768, Etching and line engraving on medium, slightly textured, cream laid paper

The principal or Street Entrance to Leatherseller's Hall, Demolished 1799, unknown artist, after unknown artist, 1800, Engraving

Fontainebleau, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, with scraping out and touched with graphite (Engraver's Proof

Fort Augustus, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, engraver's proof

Junction of the Greta and Tees at Rokeby, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching, engraver's proof on medium, slightly textured, cream, laid paper,

Mirkwood Mere, Print made by Edward Francis Finden, 1791–1857, British, after George Barret RA, ca. 1728/32–1784, Irish, 1833, Etching and line engraving on medium, slightly textured, cream wove paper with cream chine-coll

Young's Night Thoughts, Page 35, 'Teaching, we learn; and giving, we retain', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

London from Greenwich Park, Kent, Engraved by John Greig, active 1800–1853, British, after George Arnald, 1763–1841, British, 1804, Engraving, proof, Sheet: 6 3/4 x 8 1/4in. (17.1 x 21cm

April, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1790, Engraving

Carolus II. D.G: Magnæ Britanniæ Fra. et Hiberniæ Rex etc., Wenceslaus Hollar, 1607–1677, Bohemian, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1649, Stipple engraving and

Cicero, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1790, Engraving

London Bridge from the Upper Landing of the Steps near Tooley Street, Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1833, Engraving, Sheet: 14 3/8 x 10 3/4in. (36.5 x 27.3cm

Illustrations of Eclogue I, Introductory, The Giant Polypheme, William Blake, 1757–1827, British, after Nicholas Poussin, 1594–1665, French, Published by Robert John Thornton, 1768–1837, British, 1821, Wood-engraving and

St. Stephen's Chapel Looking East, John Le Keux, 1783–1846, British, after Robert William Billings, 1813–1874, British, 1834, Engraving

Beulah Spa, Norwood, Print made by Henry Wallis, 1805–1890, British, after John Cuthbert Salmon, 1844–1917, British, or John Salmon, 1808–1886, British, before 1838, Engraving

Inside of the Royal Exchange as before the Fire, unknown artist, nineteenth century, after unknown artist, undated, Engraving

Cranmer Urging Edward VI to Consent to the Execution of Joan of Kent, Print made by William Bromley, 1769–1842, British, after Robert Smirke, 1752–1845, British, Published by Robert Bowyer, 1758–1834, British, 1796, Line engraving

The Tower of London, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, with cream chine

The Right Honourable Lady Charlotte Campbell, Print made by Charles Wilkin, 1750–1814, British, after John Hoppner, 1758–1810, British, 1799, Stipple engraving on moderately thick, moderately textured, cream wove paper, Sheet: 15 1/2

For the Sexes: The Gates of Paradise, Plate 11, 'I want! I want!', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 13 3/4 inches (34.9 cm),

Views of a Cellar under the old House of Lords and Views of the Princes Chamber, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1804, Engraving

George Lambert, 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 cm), Plate: 8 3/4 x 6 1/4 inches (22.2 x 15.9 cm),

St. Agatha's Abbey, Print made by John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, c.1844, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Lake of Como Number 1 (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

The Thames or the Triumph of Navigation (Designs for the Great Room of the Society for the Encouragement of the Arts), James Barry, 1741–1806, Irish, after 1783, Etching and engraving, Sheet: 16 13/16 x 19 13/16in. (42.7 x 50.3cm

A Bacchanalian Vase, 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

Memorial to Seven Woodmason Children killed in a Fire 1779 - St. Peter upon Cornhill, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Charles Reuben Ryley, 1752–1798, British, 1798, Engraving

The Judgement of Paris, Print made by Bernard Lens, 1659–1725, British, Published by Edward Cooper, active 1682 –died 1725, British, undated, Mezzotint with line engraving on moderately thick, moderately textured, cream laid paper,

The London Institution, Funsbury Circus, William Deeble, active 1814–1849, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1827, Engraving

Dominæ Catharinæ Howard, Ducis Liuoxiæ, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving, stipple engraving and

Orford, Suffolk, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 1/2 ×

Edward Pierce, Senior and Junior, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream laid paper, Sheet: 9 1/4 x 6 7/8 inches (23.5 x 17.5 cm), Plate: 7 3/8 x 5 3/4 inches

The Gallery at Strawberry Hill, Print made by Thomas Morris, active 1771–1794, 1784, Line engraving on medium, slightly textured, cream wove paper

Diligence and Dissipation: The Wanton Dying in Poverty and Disease Visited by the Modest Girl (Plate 9), Print made by Thomas Gaugain, 1748–1812, French, and Thomas Hellyer, active 1800, British, after James Northcote, 1746–1831,

Mr. Garrick in the Character of Richard the Third - 'Richard III, ' Act V, Scene VII, William Hogarth, 1697–1764, British, Charles Grignion, 1717–1810, British, after William Hogarth, 1697–1764, British, 1746, Engraving, Sheet: 16

Scott's Birthplace, no. 39, Castle Street, Edinburgh, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Etching and engraving, touched with graphite (Engraver's Proof b

The Rialto, Venice, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Open etching, line engraving and stipple engraving on moderately thick, slightly textured, cream, wove paper, with

Longships Lighthouse, Lands End, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, 3rd state on moderately thick, smooth, cream, wove paper, Sheet: 10 3/4 × 14 3/4 inches

Sheet of Anatomical Studies of Postcranial Bones, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Leonardo da Vinci, 1452–1519, Italian, 1795, Engraving

Queen Katherine's Dream, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1788, Engraving, Sheet: 17 7/8 x 20in. (45.4 x 50.8cm

Thomas Howard, Earl of Arundel, Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Paul Rubens, 1577–1640, Flemish, 1743-1744, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

The Valley in Which the Children of Israel, Were Encamped, Mount Sinai in the Distance, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, first state

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

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