Images at Librifly

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The Burning of Archbishop Cranmer, Print made by Anker Smith, 1759–1819, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1811, Etching and line engraving on thin, slightly

Rouen, Print made by Albert Henry Payne, 1812–1902, British, 1845, Line engraving on medium, slightly textured, cream wove paper

Lady Hamilton as St. Cecilia, Print made by George Keating, 1762–1842, Irish, after George Romney, 1734–1802, British, 1789, Stipple engraving (proof before title) on moderately thick, moderately textured, cream, laid paper, Sheet: 18

Examples of Ceremonial Dress of Soldiers, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

A Garden, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

The Old Manor House, Hackney, unknown artist, after unknown artist, 1800, Engraving

Blockley Church, Print made by Thomas Bonnor, ca. 1740–ca. 1812, British, after H. C. Selwyn, ca. 1793, Line engraving with etching on moderately thick, smooth, cream wove paper, Sheet: 8 5/16 x 11 11/16 inches (21.1 x 29.7 cm) and Image:

A View of the Doge's Palace at Venice with the Grand landing place before it. The Prison on the right hand the Custom House and Entrance of the Grand Canal in front, Nathaniel Parr, active 1742–1751, British, after unknown artist, (Marieschi,

St. Austin (i.e. Augustin) Watling Street, W. Preston, active 1811, after William Pearson, 1772–1849, British, 1810, Engraving, Sheet: 12 5/16 x 9 3/8in. (31.3 x 23.8cm

The Castle of St. Angelo, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Etching and engraving, third state on medium, slightly textuerd, beige, wove paper, Sheet: 11 × 8

Guilielmus Hondius, 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, Stipple engraving, line engraving, and etching, (2nd state) on medium,

The Middle Temple Hall, London, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1800, Steel engraving on medium, slightly textured, cream, wove paper, Sheet: 17 × 20 7/8 inches (43.2 × 53

Ashestiel, Print made by John Horsburgh, 1791–1869, 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

Brisk Cathartic, James Gillray, 1757–1815, British, 1804, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Santa Sabas and the Brook Kidron, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

Plymouth, with Mount Batten, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1817, Etching and engraving on thick, slightly textured, cream, wove paper, with cream, chine collé,

Goldsmith's 'Deserted Village', Anker Smith, 1759–1819, British, after Francis Wheatley, 1747–1801, British, 1800, Engraving

Nottingham, Nottinghamshire, William John Cooke, 1797–1865, Irish, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Between Quilleboeuf and Villequier, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Dunstaffnage, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, first published state

Valley of the Brook Kedron, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

St. Paul's, W. Read, active 1818, after unknown artist, undated, Engraving

York House. Plan of the Basement Story, John Roffe, 1769–1850, British, after Benjamin Dean Wyatt, 1775–1850, British, And: Philip William Wyatt, 1777–1835, British, 1827, Engraving, Sheet: 10 x 8in. (25.4 x 20.3cm

Simmer Lake, near Askrig, John Le Keux, 1783–1846, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving on medium, slightly textured, cream, laid paper, Sheet: 11 × 15 7/8 inches (27.9 × 40.3 cm)

Richmond Bridge, Surrey, James Walker, 1748–1808, British, after Edward Dayes, 1763–1804, British, 1801, Engraving

Murray, 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: 7 1/4 x 5 1/2 inches (18.4 x 14 cm), and

The Copper Plate Magazine or, Monthly Treasure, Title Page, Published by George Kearsley, 1758–1813, British, 1778, Line engraving on medium, slightly textured, cream wove paper

Saint Francis of Assisi, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Cigoli, 1559–1613, Italian, 1763, Etching and line engraving on medium, slightly textured, cream laid paper, Sheet: 6 7/8 x 5

The Boy of Egremond, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, 1st state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 5/8 × 6 5/16

Miss Farren, Print made by Charles Knight, 1743–c.1826, British, after Sir Thomas Lawrence, 1769–1830, British, 1791, Etching and stipple engraving (first state) on medium, slightly textured, cream laid paper, Sheet: 21 3/8 × 14

A View of the Piazza Navona 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

The East Prospect of Haberdashers Alms Houses at Hoxton, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving

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

Fonthill House in Wiltshire, the Seat of William beckford Efq, Print made by William Angus, 1752–1821, British, after Joseph Mallord William Turner, 1775–1851, British, Published by William Angus, 1752–1821, British, 1800, Etching

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

Pit Ticket, William Hogarth, 1697–1764, British, 1759, Engraving

The Nabob of Surat as painted in 1778, William Birch, 1755–1834, British, 1778, Aquatint engraving, Image: 3 15/16 × 3 1/8 inches (10 × 7.9 cm), man, portrait

For Children. The Gates of Paradise, Plate 8, 'At length for hatching ripe he breaks the shell', Print made by William Blake, 1757–1827, British, 1793, Etching and line engraving on moderately thick, slightly textured, cream wove paper,

Sensibility, Print made by Richard Earlom, 1743–1822, British, after George Romney, 1734–1802, British, 1789, Color-printed stipple engraving and etching with hand coloring in watercolor on moderately thick, slightly textured, cream

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

Ivy Bridge, Devonshire, Print made by James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1816, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper

Sir John Suckling, George Vertue, 1684–1756, British, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1744, LIne engraving and stipple engraving on moderately thick, slightly

Bacchante and Cupid, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Vieira, 1765–1806, 1800, Engraving

Robert Boyle, Print made by George Vertue, 1684–1756, British, after John Kerseboom, op.1680 –m. 1708, German, 1740, Line engraving on medium, slightly textured, cream laid paper

John Bacon, Esq., R. A., Print made by Joseph Collyer, 1748–1827, British, after John Russell, 1745–1806, British, undated, Line engraving and etching on moderately thick, slightly textured, cream laid paper, laid in mount, Sheet: 6

A View of the Stadt House, New Church, Weighing House, and the adjacent Buildings at Amsterdam, Thomas Bowles, ca. 1712–died 1753, British, after unknown artist, (Kromellelvog), undated, Hand-colored engraving on wove paper, Sheet: 60

John Smith, D.D.F.S.A., George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1797, Stipple engraving and line engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 16 11/16 × 12

Bally-Burgh Ness, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, Engraver's proof

Robert White, P. Vansomer, Isaac Becket, John Start and William Elder, 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

Pamela dressed in order to meet Mr. B. at Sir Simon Darnford's, is prevented by the sudden arrival of Lady Davers, who forceibly detains her, & loads her with the bitterest reproaches that rage & disdain could suggest, her Nephew is looking

Perry's Dock Yard Blackwall, William Angus, 1752–1821, British, after Charles Tomkins, 1757–1823, British, 1801, Engraving

Heidelberg Castle, Thomas Abiel Prior, 1809–1886, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Plate 6, The Industrious 'Prentice Out of his Time and Married to his Master's Daughter, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching and line engraving, Sheet: 10 1/2 × 13

Three Men and Two Boys Sitting on a Pier, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on moderately thick, slightly textured, cream wove paper mounted

The Visionary, Print made by Samuel Cousins, 1801–1887, British, after Henry Liverseege, 1803–1832, British, Published by Moon, Boys & Graves, ca. 1812–1892, British, and John Clowes Grundy, 1806–1867, British, 1833, Mezzotint,

A Garden, William Miller, 1796–1882, 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 × 6 5/8 inches

The North Front of Sion College, London Wall as it Appeared in the Year 1800, Before it was Rebuilt, Print made by William Wise, Active 1823–1876, British, 1815, Line engraving on medium, slightly textured, cream wove paper, Sheet: 10 1/2

A Prospect of Greenwich Hospital from the River, John June, active 1740–1770, after unknown artist, undated, Hand colored engraving

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

Chairing the Members, after William Hogarth, 1697–1764, British, 1766, Etching and line engraving on medium, slightly textured, cream laid paper

Credulity, Superstition & Fanaticism, Print made by Charles Mottram, 1807–1876, British, after William Hogarth, 1697–1764, British, 1833, Line engraving on medium, slightly textured, cream wove paper

Young's Night Thoughts, Page 13, 'The present moment terminates our sight', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

A French Petit Maître and His Valet, 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,

The Castle Rhine, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof

John Hamilton Mortimer, Print made by Robert Blyth, 1750–1784, after John Hamilton Mortimer, 1740–1779, British, Published by Robert Blyth, 1750–1784, 1782, Etching and stipple engraving on moderately thick, moderately textured,

East & West Looe, Cornwall, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Etching and line engraving, early first proof on thick, slightly textured, cream, wove paper,

Young's Night Thoughts, Page 15, 'The longest night though longer far, would fail', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Lake of Albano, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, engraver's proof on moderately thick slightly textured, cream, wove paper, with cream, chine colle,

Egypt, the Pyramids of Ghizeh, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

The Great Bridge over the Taafe, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1775, Line engraving and etching with hand coloring on moderately

Pamela is represented in this first Piece, writing in her late Lady's dressing room, her History being known only by her letters. She is here surprised by Mr. B. who improves this occasion to further his designs, L. Truchy, 1721–1764, after

Christ's Charge to Peter, after George Baxter, 1804–1867, British, after Raphael, Italian, 1483–1520, Italian, Print made by Bradshaw & Blacklock, active ca.1850, British, Published by Bradshaw & Blacklock, active ca.1850, British,

Bow and Arrow Castle, Isle of Portland, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and engraving, first published state on thick, moderately textured, cream,

Abbotsford, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1841, Etching and engraving

Hospice of the Great St. Bernard (vignette), Print made by W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1830, Engraver's proof; line engraving and etching on medium, slightly textured, cream

South Side of the House of Commons from the Roof of the Painted Chamber, George Arnald, 1763–1841, British, after George Arnald, 1763–1841, British, 1805, Engraving

Walbrook Ward and Dowgate Ward, Benjamin Cole, 1697–1783, British, after unknown artist, 1756, Engraving

Gerolamo Tartarotti, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, ( G. Constantini ), 1763, Line engraving and etching in black ink on moderately thick, moderately

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

Sir Frederick William Herschel, Edward Scriven, 1775–1841, British, after John Russell, 1745–1806, British, ca.1830, Engraving on medium, slightly textured, cream, wove paper, mounted on, moderately thick, slightly textured, cream,

A French Physician with His Retinue Going to Visit His Patients, Print made by James Caldwall, 1739–1819, British, after Michel Vincent Brandoin, 1733–1807, Swiss, Published by Robert Sayer, 1725–1794, British, and John Smith of

The West Prospect of the Parish Church of St. Michael, Cornhill, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving, Sheet: 14 3/8 x 9 1/16in. (36.5 x 23cm

St. Andrew, Undershaft, John Greig, active 1800–1853, British, after C. John M. Whichelo, 1784–1865, British, 1801, Engraving, Sheet: 10 1/4 x 7 1/2in. (26 x 19.1cm

The Right Honorable Edward Lord Hawke (1705-1781), John Hall, 1739–1797, British, after Francis Cotes RA, 1726–1770, British, 1793, Engraving, Sheet: 11 1/2 x 15in. (29.2 x 38.1cm

Barber Surgeon's Hall, Monkwell Street, unknown artist, after unknown artist, 1800, Engraving

The Man of Feeling, in search of Indispensibles, James Gillray, 1757–1815, British, 1800, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Anthony van Dyck, Alexander Bannerman, ca. 1730–1780, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), undated, Line engraving and stipple engraving on medium, slightly textured, cream

A New and Accurate Plan of Billingsgate Ward, and Bridge Ward Within, unknown artist, after unknown artist, 1772, Engraving

Suburbs of Strasbourg, Print made by William Woolnoth, active 1806–1830, British, after George Robert Lewis, 1782–1871, British, 1821, Etching and line engraving on medium, slightly textured, cream wove paper

The Volunteers of the City and County of Dublin, Print made by Joseph Collyer, 1748–1827, British, after Francis Wheatley, 1747–1801, British, 1784, Etching and engraving, printed in color and hand-colored, Image: 16 1/2 x 25in. (41.9 x

Heysham and Cumberland Mountain, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching, engraver's proof on moderately thick, moderately textured, cream, wove

View of the Tower, Philip Audinet, 1766–1837, British, after Edward Dayes, 1763–1804, British, 1797, Engraving

Plymouth, Devonshire, William John Cooke, 1797–1865, Irish, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

The Meeting of Edward V, and His Brother the Duke of York, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Johann Heinrich Ramberg, 1763–1840, German, active in Britain (1781–88), 1789, Engraving

Mediation, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Pierre N. Violet, 1749–1819, French, 1792, Engraving

La Bourse, Royal Exchange, John J. Baugean, 1764–1819, after unknown artist, undated, Engraving

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,

View of New Palace Yard and Speaker's Court, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1804, Engraving

Conversation in the Manner of Van Dyck, Print made by J. Barlow, active 1791, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly

The Exhibition of the Royal Academy, 1787, Print made by Pietro Antonio Martini, 1738–1797, Italian, after Johann Heinrich Ramberg, 1763–1840, German, active in Britain (1781–88), 1787, Engraving and etching on medium, slightly

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