Images at Librifly

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Sir Ronald Craufurd Ferguson, M.P., Anthony Cardon, 1772–1813, Flemish, after Richard Cosway, 1742–1821, British, 1810, Stipple engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 15 3/8 × 11 3/8 inches (39.1

Windsor from the Forest, Berks., Print made by John Greig, active 1800–1853, British, after Joseph Mallord William Turner, 1775–1851, British, Published by Vernor & Hood, active 1795–1807, British, 1804, Etching and line engraving

John Milton, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1741, Line engraving on medium, slightly textured, cream wove paper

Christ Church College, Oxford, James Redway, active 1827–1838, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 3rd state on moderately thick, smooth, beige, wove paper, Sheet: 11 × 14 11/16

A View of a Pholey Town and Plantations about it / The Ceremony of a Negro Funeral, unknown artist, 18th Century, Engraving

A View of the Foundling Hospital, Remi Parr, active 1723–1750, British, after Louis Philippe Boitard, active 1734–1760, 1753, Hand colored engraving

A South View of Queen Elizabeth's Free Grammer School, William Wise, Active 1823–1876, British, after Jacob C. Schnebbelie, 1760–1792, British, 1813, Engraving

Simon de Vos, 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, stipple engraving and etching on medium, slightly textured,

After Sun-Set, Print made by John Browne, 1741–1801, British, after John Browne, 1741–1801, British, Printed by John Boydell, 1720–1804, British, Published by Josiah Boydell, 1752–1817, British, ca. 1797, Etching and line

Mirkwood Mere, Print made by Edward Francis Finden, 1791–1857, British, after George Barret RA, ca. 1728/32–1784, Irish, 1830, Etching and line engraving on medium, slightly textured, cream wove paper with cream chine-coll

The Gipsy, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

A Literary Party at Sir Joshua Reynolds, William Walker, 1791–1867, British, after James Doyle, 1822–1892, British, 1848, Engraving on thick, slightly textured, cream, wove paper, Sheet: 21 3/16 × 26 1/4 inches (53.8 × 66.7 cm),

Stonyhurst, Lancashire, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

The Thames at Mortlake, Print made by William John Cooke, 1797–1865, Irish, after Joseph Mallord William Turner, 1775–1851, British, 1836-1838, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Ozias, 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

London seen from Blackfriars Bridge, William Bernard Cooke, 1778–1855, British, after Luke Clennell, 1781–1840, British, 1814, Engraving, Sheet: 5 1/4 x 8 1/2in. (13.3 x 21.6cm

Taming...Act III, Scene I, Page, fl. 1784–1803, after Henry Richter, 1772–1857, British, 1791, Engraving

Vol. 6, Plate XXVII: The Painted Chamber, Print made by James Basire, 1769–1822, British, after Frederick Mackenzie, 1788–1854, British, 1842, Line engraving on moderately thick, smooth, white wove paper, Sheet: 15 1/8 × 21 7/8

Fresh Gathered Peas, Young Hastings, Print made by Giovanni Vendramini, 1769–1839, Italian, after Francis Wheatley, 1747–1801, British, 1795, Stipple engraving, printed in color, Plate: 16 3/8 x 12 3/4in. (41.6 x 32.4cm), figure

William Hoare Esq., Page, fl. 1784–1803, after unknown artist, undated, Engraving

St. Germain-en-laye, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving on medium, smooth, beige, wove paper, Sheet: 5 5/16 × 9 inches (13.5 × 22.9 cm) and Image: 3 11/16

Merchant Taylors' School and St. Paul's School, Print made by Benjamin Cole, 1697–1783, British, after unknown artist, 1756, Line engraving and etching on moderately thick, slightly textured, beige laid paper, Sheet: 15 9/16 x 9 5/8 inches

King Henry IV: Part I, Act III, Scene i, The Archdeacon of Bangor's House in Wales. Hotspur, Worcester, Mortimer, & Owen Glendower, Peter Simon, 1750–1810, after Richard Westall, 1765–1836, British, 1795, Engraving, Sheet: 15 3/4 x

Castle Upnor, on the River Medway, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Arab Shekh, Tribe Beni Koreish, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Caernarvon Castle, Wales, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving and etching, 3rd state on medium, smooth, cream, wove paper, Sheet: 10 11/16 × 14 5/8

Richmond Castle and Town, Print made by John Wykeham Archer, 1808–1864, British, after Joseph Mallord William Turner, 1775–1851, British, 1820, Etching and line engraving, engraver's proof on moderately thick, slightly textured, cream,

G. B. Cipriani, RA, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1785, Engraving

Coaching: The Mail Coach, Samuel William Reynolds, 1773–1835, British, after George Morland, 1763–1804, British, 1801, Mixed engraving, Sheet: 19 1/8 x 23 3/4in. (48.6 x 60.3cm

Leicester Abbey, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 11 × 15 inches

The Humrous Farce of Jobson and Nell, Print made by unknown artist, after Francis Hayman, 1707/8–1776, British, ca. 1743, Engraving, Plate: 6 3/4 × 10 1/2 inches (17.2 × 26.7 cm

Charterhouse Square, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving, Sheet: 7 1/8 x 9 1/2in. (18.1 x 24.1cm

Plate XXII: Chantry Chapels, Section of West Entrance and Elevation of the East End, St Stephen's Chapel, Print made by T. Clarke, 1799–1839, after James Robert Thompson, active 1807–1843, 1835, Line engraving proof on smooth, moderately

Hyoena, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1790, Engraving

A View of Richmond Palace fronting the Green, James Basire, 1769–1822, British, after unknown artist, 1765, Engraving

Crypt of St. Helen's, Bishopsgate, J. R. Jobbins, Died 1866, British, after unknown artist, undated, Engraving, Sheet: 10 3/4 x 6 13/16in. (27.3 x 17.3cm

Book of Job, Plate 19, Every One also Gave Him a Piece of Money, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/8 × 10 7/8 inches (38.4 × 27.6 cm), Plate: 8 1/2 × 6

Plate I: View taken near Scarva in the County of Downe, representing Ploughing, Sowing the Flax Seed and Harrowing, William Hincks, 1752–1797, after William Hincks, 1752–1797, Published by Robert Pollard, 1755–1838, British, 1791,

St. Mawes, Cornwall, Print made by James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1814 to 1826, Etching and line engraving on medium, slightly textured, cream wove paper with

Samuel Johnson, Abel Bowen, 1790–1850, American, after unknown artist, undated, Engraving, Sheet: 8 1/4 x 4 3/4in. (21 x 12.1cm

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

British Museum, Elgin Room, Print made by Edward Radclyffe, 1809–1863, British, after Llewellynn Jewitt, British, 1844, Line engraving on medium, slightly textured, cream wove paper

An Old Manor House, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; touched proof on moderately thick, slightly textured, beige, wove paper, with beige, chine colle,

Maria Margareta de Barlemont Comitissa Hegmondana, Jacobus Neeffs, 1610–after 1660, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving, stipple engraving

The Lake of Geneva, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; finished engraver's proof on medium, slightly textured, cream wove paper

The Taking of the Marquese de Antim and Louis Erasme, Simon Francois Ravenet, 1721–1774, French, active in Britain, after Charles Brooking, 1723–1759, British, c. 1753, Line engraving, Sheet: 11 1/4 x 17 3/4in. (28.6 x 45.1cm

The Invasion, Plate I, France, William Hogarth, 1697–1764, British, 1768, Etching and line engraving on medium, slightly textured, cream wove paper

Aldborough, James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, ca. 1830, Etching and engraving, early engraver's proof on moderately thick, slightly textured, cream, wove paper, with

Il Biglietto D' Amore, A Contadina (of Frascuti) Dictating to one of the Scribes..., William Humphrys, 1794–1865, Irish, after unknown artist, ( J. P. Dans ), undated, Engraving, Sheet: 5 11/16 x 4 3/4in. (14.4 x 12.1cm

Barbara Duchess of Cleaveland as a Shepherdess, William Sherwin, 1645–1711, British, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1670, Engraving, Sheet: 28 x 22in. (71.1 x 55.9cm), crook, shepherd's,

'A Mapp of St. Andrews Holborn Parish...', unknown artist, eighteenth century, after unknown artist, undated, Engraving

The Farm House, Joseph Constantine Stadler, active 1780–1812, British, after George Morland, 1763–1804, British, 1792, Engraving, Sheet: 11 3/16 x 16 3/4in. (28.4 x 42.5cm

An Arabesque, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving and stipple engraving on thick, slighlty textured, cream, wove paper, with gray, chine colle, Sheet: 17 3/16 × 11 7/8

The Choir of St. Paul's Cathedral, Thomas Bowles, (?), ca. 1712–died 1753, British, after unknown artist, 1754, Engraving

Plate X: Perspective View of a Bleach Green taken in the County of Downe, Shewing the methods of Wet & Dry Bleaching, and the outside View of a Bleach Mill, on the most approved construction, William Hincks, 1752–1797, after William Hincks,

2. Two Hunters / Deux Chevaux 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

Hornsey, Middlesex, James Newton, 1748–c. 1804, British, after unknown artist, 1807, Engraving

Scio (Fontana de Melek, Mehmet Pasha), Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, third state on medium, slightly textured, beige, wove paper,

Lieutenant General Fleetwood, Jacobus Houbraken, 1698–1780, Dutch, after Robert Walker, 1607–1660, British, 1740, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

Martin Bucer, Gerard Valk, 1651/2–1726, Dutch, after Adriaan van der Werff, 1659–1722, Dutch, undated, Engraving on medium, moderately textured, beige, laid paper, Sheet: 12 × 7 1/8 inches (30.5 × 18.1 cm) and Image: 11 3/4 × 6

Three Actors in a Play, Peltro W. Tomkins, 1760–1840, British, after Charles Ansell, ca.1752–active 1790, British, 1785, Stipple engraving on thick, moderately textured, cream, laid paper, Sheet: 19 9/16 × 16 7/8 inches (49.7 × 42.9

Dr. Johnson's Willow with St. Chad's near Lichfield, Samuel Rawle, 1771–1860, British, after unknown artist, ( J. Jackson ), undated, Engraving, Sheet: 5 3/4 x 9in. (14.6 x 22.9cm

Henry Home, Lord Kames, Print made by Samuel Freeman, 1773–1857, British, after David Martin, 1736/7–1798, British, undated, Stipple engraving and etching on moderately thick, smooth, cream wove paper, Sheet: 7 1/16 x 4 13/16 inches

Mr. Guy's Hospital for Incurables in the Borough of Southwark, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

Hardraw Fall, Samuel Middiman, ca. 1750–1831, British, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Line engraving and etching on moderately thick, slightly textured, cream, wove

A Country Inn Yard, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1808, Etching and line engraving on medium, slightly textured, cream

St. Clement Danes, John Boydell, 1720–1804, British, after Thomas Boydell, active 1750–1751, 1751, Engraving, Sheet: 11 13/16 x 17 1/8in. (30 x 43.5cm

Dido and Aeneas; The Morning of the Chase, Print made by W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving with graphite; engraver's proof (a), touched on thick,

Young's Night Thoughts, Page 23, 'We Censure Nature for a Span Too Short', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine:

Church House, Hackney, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1798, Engraving

- 'and would'st thou turn the vile Reproach on me?', James Gillray, 1757–1815, British, 1807, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Carlisle, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

The Roman Forum from the Tower of the Capitol, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Line engraving and etching on medium, smooth, cream, wove paper, Sheet: 10 5/8 × 15 1/8

Interior of the House of Commons, Robert Wallis, 1794–1878, British, 1815, Engraving, Sheet: 5 1/16 x 8 1/4in. (12.9 x 20.9cm

Shakespeare's Monument at the Church at Stratford upon Avon, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof, Image: 4 1/8 x 2 7/8in. (10.5 x

Saumur, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof

Sandy Knowe, or Smailholm Tower (Vignette), William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1851, Etching and engraving

Head of Diana, Print made by Samuel Ireland, active 1760–died 1800, British, after William Hogarth, 1697–1764, British, 1785, Etching and line engraving on medium, slightly textured, cream wove paper

Angelica, e Medoro in varj modi / Legati iusienne di diversi nodi, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1773,

Johnnie Armstrong's Tower, Print made by Edward Goodall, 1795–1870, 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

Blenheim, Oxfordshire, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (touched

The Lord of the Sabbath, James Smetham, 1821–1889, British, 1861, Etching and engraving, Sheet: 4 15/16 x 6 5/8in. (12.5 x 16.8cm

Honorable Anne Rushout, Print made by Thomas Burke, 1749–1815, British, after Andrew Plimer, 1763–1837, British, undated, Stipple engraving on moderately thick, slightly textured, cream laid paper, Sheet: 10 1/2 x 7 11/16 inches (26.7

Addingham Mill on the Warfe, James C. Allen, active 1821–1831, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Open etching and line engraving on moderately thick, slightly textured, cream, wove paper, with

Marche aux Fleurs and the Pont-au-Change, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

A Swiss Valley, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

View of Buckingham House, William Knight, active 1807–1845, after Edward Dayes, 1763–1804, British, 1799, Engraving, Sheet: 8 11/16 x 11 3/8in. (22.1 x 28.9cm

Thais, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, Published by William Dickinson, 1746–1823, British, 1792, Etching and stipple

Bishop of London's Palace, Fulham, Simon Watts, active 1812, after John Lynn, 1826–1838, British, 1812, Engraving

Ehrenbreitstein, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof

Glen Coe, Scotland, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

Eagle Tavern and Coffee House near Somerset House, Peter Mazell, active 1761–1797, Irish, after James Millar, ca.1735–1805, British, undated, Engraving on slightly textured, medium, white wove paper, Sheet: 7 3/4 × 8 1/16 inches (19.7

Saturday Night, Print made by Henry Lemon, 1823–1882, after Thomas Faed, 1826–1900, British, undated, Engraving and Etching on moderately thick, slightly textured, beige, wove paper, Sheet: 22 1/16 × 26 inches (56 × 66 cm) and Image:

Concert Ticket, Mary's Chappel, after William Hogarth, 1697–1764, British, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly textured, cream wove paper

His Majesty Reviewing His Troops on Black Heath, Robert Pollard, 1755–1838, British, after William Mason, 1724–1797, British, 1797, Aquatint, etching, and engraving on moderately thick, slightly textured, cream, laid paper, Sheet:

A View of London Bridge taken near St. Olave's Stairs, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1751, Hand colored engraving, Sheet: 11 7/16 x 18 1/4in. (29.1 x 46.4cm

Canonbury House, Islington, George Cooke, 1781–1834, British, after unknown artist, 1827, Engraving, Sheet: 6 1/4 x 7 5/8in. (15.9 x 19.4cm

Sir Henry Charles Englefield, 7th Baronet, William Evans, active 1797–1856, British, after Henry Edridge, 1769–1821, British, undated, Stipple engraving on moderately thick, slightly textued, cream, wove paper, Sheet: 7 1/16 × 6

Frontispiece to the Artist's Catalogue, 1761, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1807, Engraving

Summers Evening, Victor Marie Picot, 1744–1805, French, after Philippe-Jacques de Loutherbourg, 1740–1812, French, active in Britain (from 1771), 1794, Engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 18 ×

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