Images at Librifly

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A Band of Savoyards, Charles Knight, 1743–c.1826, British, after Henry William Bunbury, 1750–1811, British, 1785, Stipple engraving, Sheet: 13 7/8 x 18 1/16in. (35.2 x 45.9cm

The Second Stage of Cruelty: Second, Coachman Beating a Fallen Horse, William Hogarth, 1697–1764, British, 1751, Engraving, Sheet: 15 3/8 x 12 3/4in. (39.1 x 32.4cm

Horatius Gentilesciu, 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 etching on medium, slightly

Oxford, John Bowles, 1701–1779, British, 1731-1748, Engraving

A Rake's Progress, Plate III: He Revels, William Hogarth, 1697–1764, British, 1735, Line Engraving, Sheet: 12 3/8 x 15 1/4in. (31.4 x 38.7cm

Robert Walpole, First Earl of Oxford, Jacobus Houbraken, 1698–1780, Dutch, after Arthur Pond, ca. 1705–1758, British, 1746, Engraving; Proof before letters, with engraver's name and date only, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm),

Perugia, 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

Mrs. Elizabeth Carter, Print made by John S. Shury, active 1818–1848, 1817, Stipple engraving on medium, slightly textured, cream wove paper

Esron and Aram, 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

Crocus Luteus (Crocus Aureus or Golden Crocus) and Safran Jaune, Plate 196 from Les Liliacées, volume 4, Paris, 1802-1816, Pierre-Joseph Redouté, 1759–1840, French of Flemish birth, between 1802 and 1816, Color-printed stipple engraving

Dr. Johnson, Henry Richter, 1772–1857, British, after unknown artist, undated, Engraving, Sheet: 7 1/2 x 4 1/2in. (19.1 x 11.4cm

Sir Francis Bacon, Viscount St. Alban, Lord Chancellor, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1738, Line engraving on medium, slightly textured, cream laid paper

The East View of the Royal College of Eton, John Pine, 1690–1756, British, after Alexander Cozens, 1717–1786, British, 1742, Engraving with watercolor on laid paper, Plate: 11 13/16 x 18 1/4in. (30 x 46.4cm) and Sheet: 13 1/2 x 19 3/4in.

Near Battle Bridge, Middlesex, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1797, Engraving

Milton, Robert Hartley Cromek, 1770–1812, British, 1801, Engraving, Sheet: 3 11/16 x 6 3/16in. (9.4 x 15.7cm

Palace, Liege, after George Sidney Shepherd, 1784–1862, British, undated, Line engraving on medium, slightly textured, cream wove paper

Paris from the Barriere de Passy, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof (early

A Plate from Orlando Furioso: Vede di mezzo il fiume un cavaliero / Insino al petto uscir, d'aspetto fiero, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785,

Jedburgh Abbey, Print made by Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; touched engraver's proof on medium, slightly textured, cream wove paper

Jerusalem from the Mount of Olives, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

The Second Stage of Cruelty: Coachman Beating a Fallen Horse, 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), Plate:

Ambrosius Spinola Marchio Sesti et Venafri, 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 and stipple engraving on

Young's Night Thoughts, Page 7, 'Till at Death's Toll, Whose Restless Iron Tounge', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

The New Corn Exchange, Mark Lane, J. Henshall, after Thomas Hosmer Shepherd, 1792–1864, British, 1828, Engraving

Antiquities at Pola, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, c. 1818, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, Sheet: 7 3/4 × 11 3/4

The Post Office & St. Paul's, from St. Martin's Le Grand, Print made by George Cooke, 1781–1834, British, after Clarkson Stanfield, 1793–1867, British, Published by Longman, active 1804–1914, British, 1833, Etching and line

Zorobabel, 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. Mary, Lambeth, Thomas Higham, 1796–1844, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1831, Engraving

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,

A Sacrifice to Diana the Goddess of Hunting, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Pietro da Cortona, 1596–1669, Italian, 1791, Engraving

Frederick second, King of Prussia, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Johann Heinrich Ramberg, 1763–1840, German, active in Britain (1781–88), 1787, Engraving

Gibraltar, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper, Sheet: 12 1/16 ×

A Tempest - Voyage of Columbus, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on moderately thick, slightly textured, cream, wove paper,

Marriage à la Mode, Plate 3, Print made by Bernard Baron, 1696–1762, French, After William Hogarth, 1697–1764, British, 1745, Etching with line engraving, Sheet: 15 1/8 × 18 3/8 inches (38.4 × 46.7 cm

Apollo playing to the Muses and two Cupids, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1793, Engraving

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

West Window of the Chapel, New College Oxford: The Virtues - Faith, George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1781, Stipple engraving on moderately thick, moderately textured, cream, laid

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

Plate XIII: St Stephen's Chapel, Print made by James Basire, 1730–1802, British, after John Topham, 1746–1803, British, after unknown artist, 1795, Line engraving on slightly textured, moderately thick, white wove paper, Sheet: 16 ×

William Waynfleet, Bishop of Winchester, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1743, Line engraving on medium, slightly textured, cream laid paper

Thomas Bewick; Restorer of the Art of Engraving on Wood; Born 1753, -Died 1828, unknown artist, ( T. A. Kidd ), after Caroline Kirkley, active 1796–1797, British, 1829, Engraving

The Front of Northumberland House, next the Strand, Richard Sawyer, active 1820–1830, after John June, active 1740–1770, 1809, Engraving, Sheet: 11 x 13 7/8in. (27.9 x 35.2cm

Hungerford Market, near York Buildings, Strand, Maddocks, active 1825, after Jacob C. Schnebbelie, 1760–1792, British, 1825, Engraving

Gosport, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving and etching, 2nd state on moderately thick, smooth, cream, wove paper, with gray, chine colle, Sheet: 10

Heveningham Hall, in Suffolk, the Seat of Sir Gerard William Vanneck Bartholomew, William Watts, 1752–1851, British, after Thomas Hearne, 1744–1817, British, 1782, Engraving

Troyes, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Liege, Print made by Edward Francis Finden, 1791–1857, British, after Samuel Prout, 1783–1852, British, Published by Chapman and Hall, 1833, Line engraving on medium, slightly textured, cream wove paper

Malvern Abbey and Gate, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving and etching on thick, slightly textured, cream wove paper with cream chine-collé, Sheet: 10

Rievaulx Abbey, Yorkshire, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Rhodes, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's finished proof on thick, slightly textured, beige, wove paper, with gray chine colle, Sheet: 12 ×

Llandberis Lake, Wales, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Magnae Britanniae et Hiberniae Tabula, Print made by Willem Janszoon Blaeu, 1571 - 1638, 1634, Line engraving; verso: Letterpress on medium, slightly textured, cream laid paper, Sheet: 19 7/8 × 23 1/4 inches (50.5 × 59.1 cm) and Plate: 15

Young's Night Thoughts, Page 33, 'Like that, the dial speaks; and points to thee', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Sir William Wyndham Baronet, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Jonathan Richardson the Elder, 1667–1745, British, 1741, Etching and engraving on medium, slightly textured, cream laid paper

The Enraged Musician, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1806, Engraving

Serenissimus Princeps Wolfangus Wilhelmus, D.G. Comes Palatinus Rheni, Dux Bavariæ, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635,

W. Shakspeare, Joseph Collyer, 1748–1827, British, 1810, Stipple engraving and etching on wove paper, Sheet: 6 1/2 x 4in. (16.5 x 10.2cm

Ruins of Part of the Priory of the Holy Trinity called Christ-Church near Aldgate, William Deane Taylor, 1794–1857, after Robert Bremmel Schnebbelie, active 1803–1849, 1825, Engraving, Sheet: 12 5/8 x 10in. (32.1 x 25.4cm

A Frosty Morning-Sunrise, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

The Puzzle for the Dog, the Puzzle for the Horse, the Puzzle for Turk, Frenchman, or, Christian, William Dickinson, 1746–1823, British, after Henry William Bunbury, 1750–1811, British, Published by William Dickinson, 1746–1823,

The Village Politicians, Abraham Raimbach, 1784–1868, British, after Sir David Wilkie, 1785–1841, British, 1814, Engraving and etching, Plate: 20 x 24 1/2in. (50.8 x 62.2cm), bones, chairs, cups, dog (animal), door, drinking,

Sir Francis Walsingham, Jacobus Houbraken, 1698–1780, Dutch, after Frederico Zuccheri, 1540/43–1609, Italian, 1738, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

A View of the Palace of Seaux and of the little Flower Garden that leads to the Orange Garden, John Tinney, died 1761, British, after unknown artist, undated, Hand-colored engraving on wove paper, Sheet: 60 1/2in. (153.7cm), architectural

The Deserted Village, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francis Wheatley, 1747–1801, British, 1795, Hand colored engraving

Works of the Strand Bridge, Print made by George Cooke, 1781–1834, British, after Edward Blore, 1789–1879, British, Published by William Bernard Cooke, 1778–1855, British, 1829, Line engraving on medium, slightly textured, cream

Plymouth Citadel, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1823, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper with

Exeter, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (completed

Sir Christopher Wren's Design for Rebuilding the City of London after the Great Fire in 1666, William Alfred Delamotte, 1775–1863, British, And J. Barlow, active 1791, after Christopher Wren, 1632–1723, British, 1800, Engraving

Portrait of a Man and Woman, perhaps from a Cameo, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Young's Night Thoughts, Page 93, 'If angels tremble, 'tis at such a 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,

Columbus and his Son, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with gray, chine colle,

Portooken Ward, unknown artist, eighteenth century, after unknown artist, undated, Engraving

The Flight into Egypt, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Dorothea Lister, 1766–1839, British, 1790, Engraving

Edward Pierce, Senior & Junior, 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 1/8 x 5 3/4 inches

Wenceslaus Coeberger, Præfectus Generalis Montium Pietatis, Bruxellis, 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,

Storming of San Sebastian, Print made by Daniel J. Pound, active ca. 1860, Published by The London Printing and Publishing Company, undated, Line engraving on medium, slightly textured, cream wove paper

Seymour's Twelve Prints of Hunters & Running Horses, taken in Various Actions, James Seymour, 1702–1752, British, c. 1750, Engraving, Sheet: 6 3/4 x 10 1/2in. (17.1 x 26.7cm

Samuel Johnson, Robert Sands, 1792–1855, British, after Thomas Trotter, ca. 1750–1803, British, And unknown artist, after Thomas Trotter, ca. 1750–1803, British, undated, Engraving, Sheet: 17 x 11 1/2in. (43.2 x 29.2cm

George Vertue of London, Engraver, 1750, George Vertue, 1684–1756, British, after Thomas Gibson, c.1680–1751, British, 1750, Engraving

Vestiges of Sculpture and Painting in St Stephen's Chapel, Westminster, Print made by Robert William Billings, 1813–1874, British, 1836, Line engraving on smooth, medium thickness, white wove paper, Sheet: 7 3/4 × 4 3/8 inches (19.7 ×

Merrick Abbey, Swaledale, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching, engraver's proof on moderately thick, slightly textured, cream, wove paper,

The Vision of Columbus, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on thick, moderately textured, cream, wove paper, with cream, chine

British Museum, New Building, unknown artist, nineteenth century, after unknown artist, 1810, Hand colored engraving, Sheet: 7 15/16 x 5 1/4in. (20.2 x 13.3cm

Contemplation, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1791, Engraving

Captivity, 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 (29.5 ×

Thomas Belasyse, 1st Earl Fauconberg, after ? Robert White, 1645–1703, British, undated, Line and stipple engraving on medium, slightly textured, beige, wove paper, Sheet: 11 1/4 × 7 inches (28.6 × 17.8 cm) and Image: 8 7/8 × 6 11/16

The Lodge and Stables, &c. at Windsor Great Park, James Mason, 1710–1783, British, after Thomas Sandby RA, 1721–1798, British, 1772, Hand colored engraving on thick, rough, blued white, laid paper, Sheet: 16 7/8 × 25 1/8 inches

View of Leiston Abbey, Print made by William Byrne, 1743–1805, British, after Thomas Hearne, 1744–1817, British, Published by Thomas Hearne, 1744–1817, British, and William Byrne, 1743–1805, British, 1781, Etching and stipple

Mount Moriah, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, first state

Phryne going to the Bath as Venus, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Mrs. Selwyn, James Heath, (?), 1757–1834, British, after unknown artist, undated, Stipple engraving on moderately thick, slightly textured, cream wove paper, Sheet: 11 15/16 x 9 5/16 inches (30.3 x 23.6 cm), Plate: 7 3/8 x 5 11/16 inches

The Monument of Sir Henry Rowe, Kt. at Hackney Church, J. Mynde, active 1740–1770, after J. Mynde, active 1740–1770, 1752, Engraving

Charles Earl Cornwallis, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Hugh Douglas Hamilton, 1739–1808, British, 1781, Stipple engraving and etching on medium, smooth, cream laid

Romeo and Juliet: Act I, Scene V. 'A Hall in Capulet's House.', George Siegmund Facius, 1750–1804, And Johann G. Facius, 1750–after 1802, German, after William Miller, 1796–1882, British, 1789, Engraving, Sheet: 17 1/2 x 23 7/16in.

Ticket of the London Hospital, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1809, Etching, line engraving, and stipple engraving on

Mrs. Hannah Sparke, Widow, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, ( Hulls ), 1785, Engraving

Sir James Wishart, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Faber the Younger, ca. 1695–1756, Netherlandish, active in Britain, Published by Faulder & Son, active 1799–1810,

Lord Henry and Lady Charlotte Spencer, John Jones, ca. 1745–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Stipple engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 17 1/16 × 13 1/16

Palace of Whitehall - The Westminster Side, Guillaume Philippe Benoist, 1725–ca. 1770, French, after Inigo Jones, 1573–1652, British, 1748, Engraving on moderately thick, slightly textured, cream, laid ppaer, Sheet: 22 1/2 × 38 5/16

Troyes, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving

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