Images at Librifly

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Charles Earl Cornwallis, Lieutenant General of His Majesty's Forces, &c., &c., & c., Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Hugh Douglas Hamilton, 1739–1808, British, 1781,

The S.W. Prospect of the Church of St. Leonard, Shoreditch, Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving, Sheet: 14 3/4 x 8 1/4in. (37.5 x 21cm

Mrs. Frances Abington (née Barton) as Roxalana in 'The Sultan', John Keyse Sherwin, c.1751–1790, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1791, Stipple engraving on moderately thick, moderately textured, beige, laid

An Election Entertainment, Plate I, William Hogarth, 1697–1764, British, 1755-58, Engraving, Sheet: 15 3/4 x 21 1/4in. (40 x 54cm

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

Tintagel Castle, Cornwall, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and line engraving on moderately thick, moderately textued, cream, wove paper, Sheet: 11 11/16

Decline of Carthage, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Francis Grose, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Nathaniel Dance RA, 1735–1811, British, 1787, Stipple engraving on medium, slightly textured, cream wove paper, Sheet: 7

Stationer's Hall, Stationers Court Hall, W. Watkins, active 1828–1830, after Thomas Hosmer Shepherd, 1792–1864, British, 1830, Engraving

Aosta (vignette), Print made by Henry Le Keux, 1787–1868, British, Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving with graphite; engraver's proof on medium, slightly textured, cream wove paper

Oliver Cromwell, P.R.O.C., Print made by Jan van de Velde IV, ca. 1620–1686, Dutch, after Robert Walker, British, 1599–1658, British, ca. 1655, Line engraving, stipple engraving and aquatint on medium, slightly textured, beige laid

A View from Durdham-Down near Bristol looking down the Avon, Jean B. C. Chatelain, 1710–1771, French, And Francois Vivares, 1709–1780, French, OR Thomas Vivares, c.1735–c.1790, British, after Thomas Smith of Derby, ca. 1720–1767,

The Acropolis of Athens, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Etching and engraving on moderately thick, slighlty textured, beige, wove paper, Sheet: 11 11/16 × 17 1/4

Maria of Moulines, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John H. Benwell, 1762–1785, 1784, Stipple engraving and line engraving on medium, slightly textured, cream laid paper, Sheet: 8 1/8 x

The Chaplet, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-coll

Whitby, Print made by John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1844-1867, Line engraving; engraver's proof on medium, slightly textured, cream wove paper with chine-coll

The Farmer's Boy, 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, Sheet:

Chiswick House in Middlesex, the Seat of the Duke of Devonshire, William Watts, 1752–1851, British, after William Watts, 1752–1851, British, 1781, Engraving

The Burn, 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, blued white wove paper, Sheet: 5

Thomas Wentworth, 1st Earl of Strafford, Robert White, 1645–1703, British, 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,

Lambeth and Christ Church Parish, Southwark, unknown artist, after unknown artist, 1755, Engraving

'Cries of London' Plate 6: 'Knives Scissors and Razors to Grind', Giovanni Vendramini, 1769–1839, Italian, after Francis Wheatley, 1747–1801, British, 1795, Colored engraving with stipple, DON'T USE: 16 x 12in. (40.6 x 30.5cm

Portrait of a Man with Putti below carrying Steamer, Desir de Bien Faire, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

Edward Duke of Kent, Father of Her Majesty Queen Victoria, Print made by unknown artist, nineteenth century, after 1837, Line engraving with stipple on medium, smooth, white wove paper, Sheet: 10 3/4 x 8 1/8 inches (27.3 x 20.6 cm), father,

The Bird Cage and Grand Temple Walks in the Garden of Chiswick House, unknown artist, nineteenth century, after Pieter Andreas Rysbrack, ca. 1684–1748, Flemish, active in Britain (from 1720), undated, Engraving, Sheet: 10 1/4 x 15 5/8in.

Castello S. Angelo Di Roma, Print made by Nicolas Beatrizet, 1507 or 1515–ca. 1565, French, Printed by Giovanni Orlandi, active 1590–1640, Italian, Published by Claude Duchet, died ca. 1585, French, 1602, Line engraving and etching on

Palais de Blois, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving on moderately thick, smooth, cream, wove paper, Sheet: 6 7/8 × 10 9/16 inches (17.5 × 26.8 cm),

The King's Entrance to the House of Lords, From Poets Corner, Print made by William Deeble, active 1814–1849, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1829, Line engraving on smooth, medium white wove paper, Sheet: 5

Stone Henge, Wiltshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1829, Line engraving, first published state

Palatium Regis Prope Londinum, Vulgo Whitehall, Wenceslaus Hollar, 1607–1677, Bohemian, after Wenceslaus Hollar, 1607–1677, Bohemian, ca. 1647, Line engraving on medium, slightly textured, cream laid paper, Sheet: 6 x 13 1/8 inches

Cambridge Terrace and the Colliseum Regents Park, Robert Acon, active 1828–1850, after Thomas Hosmer Shepherd, 1792–1864, British, 1828, Hand colored engraving

Emma, Lady Hamilton as 'Ariadne', Print made by Charles Brome, ca. 1774–1801, after George Romney, 1734–1802, British, 1801, Etching and line engraving (first state) on medium, slightly textured, cream laid paper, Sheet: 23 1/4 × 17

Lewis Francis Roubiliac, Print made by Thomas Chambars, ca. 1724–1789, British, after Adrien Carpentiers, active 1739–1778, Flemish, active in Britain (from 1739), undated, Etching and line engraving on moderately thick, smooth, cream

The Mask, Luigi Schiavonetti, 1765–1810, Italian, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Color printed etching and stipple engraving with hand coloring in watercolor on moderatley thick, slightly textured, cream wove

Coventry, Warwickshire, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Wycliffe, near Rokeby, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching False proof on moderately thick, slightly textured, cream, wove paper, with cream,

No. 2 A Table of Heiroglyphics found at Axum, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1771-1789, Engraving

Demolition of Swallow Street, George Cooke, 1781–1834, British, after Sir Augustus Wall Callcott, 1779–1844, British, 1827, Engraving

Jesse, 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

George Savile, first Marquess of Halifax, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1740, Line engraving on medium, slightly textured, cream laid paper

A Window in the Hall of Winchester Palace, Southwark, James S. Storer, 1771–1853, British, after unknown artist, 1805, Engraving

Tomb of Henry VII, Westminster Abbey, Wenceslaus Hollar, 1607–1677, Bohemian, after Wenceslaus Hollar, 1607–1677, Bohemian, 1665, Engraving

Diligence and Dissipation: Good Advice from an Old Servant to the Young Ones (Plate 2), Print made by Thomas Gaugain, 1748–1812, French, and Thomas Hellyer, active 1800, British, after James Northcote, 1746–1831, British, 1797, Stipple

Richard III, King of England, George Vertue, 1684–1756, British, after unknown artist, 1732, Line engraving on medium, slightly textured, cream, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper, Mount:

Templi Ignoti, Sed ex eius Fragmentis, Print made by unknown artist, sixteenth century, Published by Nicolaus van Aelst, ca. 1527–1613, Flemish, Published by Pietro de Nobili, active 1582, Italian, Published by Antonio Lafreri,

Court of the Palazzo Vecchio, Florence, Print made by Edward Alfred Goodall, 1819–1908, British, after Robert Batty, 1789–1848, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Hammersmith Bridge, J. Rogers, active ca.1825–ca.1842, after unknown artist, ( J. Fletcher ), undated, Engraving

Young's Night Thoughts, Page 37, 'Love, and love only, is the loan for love', 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 View of Greenwich Reach taken from Mr. Wells's Dock, Graham, 18th century, after unknown artist, undated, Engraving

Merrick Abbey, Swaledale, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving and etching on moderately thick, slightly textured, cream, wove paper, with cream, chine colle,

The Third Volume, Print made by Florence Claxton, active 1855–1889, British, undated, Wood-engraving, Sheet: 3 3/4 x 4in. (9.5 x 10.2cm), book, dress, fear, genre subject, mirror, reading, women

Norham Castle - Moonrise, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving

Val Night's Scheme for Rebuilding London after the Fire (Sheet 1), unknown artist, seventeenth century, after unknown artist, 1666, Engraving

Johnson and other portraits, Thomas Holloway, 1748–1827, British, after unknown artist, undated, Engraving, Sheet: 17 x 12in. (43.2 x 30.5cm

Loch Achray, Print made by William Miller, 1796–1882, 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

Wycliffe, near Rokeby, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Etching and line engraving on medium, slightly textured, cream, laid paper, Sheet: 8 1/2 × 11 7/8 inches (21.6

The South - West View of the Parish Church of Ecton in Northamptonshire, William Henry Toms, ca. 1700–ca. 1750, British, after J. Shipley, 1714–1788, 1749, Etching and engraving on thick, rough, beige, laid paper, mounted on, thick,

Regent's Canal Basin, City Road, Charles Heath, 1785–1848, British, after Peter DeWint, 1784–1849, British, 1825, Engraving

Westminster Abbey, Samuel Rawle, 1771–1860, British, after Samuel Rawle, 1771–1860, British, 1804, Engraving

The New Building on Shrubs Hill, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Thomas Sandby RA, 1721–1798, British, 1772, Hand colored engraving

E. Edwards, Associate and Teacher of Perspective in the Royal Academy, Print made by Anthony Cardon, 1772–1813, Flemish, after Edward Edwards, 1738–1806, British, 1808, Stipple engraving and etching on moderatley thick, slightly

The Earl of Mansfield, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1786, Engraving

A Perspective View of ye Parade in St. James's Park, John Maurer, active 1713–1761, after John Maurer, active 1713–1761, 1742, Engraving

Ulysses Deriding Polyphemus, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

4. Lecture / Philosophical remarks upon the Nature & effects of Amputation, Charles Loraine Smith, 1751–1835, British, 1792, Hand colored engraving, Sheet: 8 1/4 x 10 3/8in. (21 x 26.4cm

Industry and Idleness, Plate VIII, The Industrious 'Prentice Grown Rich, and Sheriff of London, after William Hogarth, 1697–1764, British, Published by Jones & Co., active 1822–1850, British, 1833, Etching and line engraving on medium,

St. Giles' Catholic Church: Elevation of the Steeple, Print made by Augustus Welby Northmore Pugin, 1812–1852, British, Augustus Charles Pugin, 1762–1832, French, undated, Pen and black ink, with line engraving on medium, smooth, cream

Approach to Thiers, France, Print made by John Cousen, 1804–1880, British, after James Duffield Harding, 1798–1863, British, Published by Fisher, Son & Co., active 1821–1848, British, 1836, Etching and line engraving on medium,

View of Mr. Hatchett's Capital House in Long Acre, James Walker, 1748–1808, British, after James Millar, ca.1735–1805, British, 1783, Engraving, Sheet: 8 1/8 x 9 1/4in. (20.6 x 23.5cm

Marriage à la Mode, Plate 4, Print made by Simon Francois Ravenet, 1721–1774, French, active in Britain, After William Hogarth, 1697–1764, British, 1745, Etching with line engraving, Sheet: 15 1/4 × 18 3/8 inches (38.7 × 46.7 cm

Inside St. Martin-in-the-Fields, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1751, Engraving, Plate: 11 1/8 x 16 3/4in. (28.3 x 42.5cm) and Sheet: 11 13/16 x 17 7/16in. (30 x 44.3cm

View of Part of Westminster, taken from the Interior in the Grand Park, Isaac Mills, active early 19th century, after George Arnald, 1763–1841, British, 1808, Engraving

The Death of Cora, 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), and after Helen Maria Williams, 1759–1827,

William Cecil Lord Burleigh, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1738, Line engraving on medium, slightly textured, cream laid paper

Sadlers Wells, John Greig, active 1800–1853, British, after Samuel Prout, 1783–1852, British, 1804, Engraving

Clarissimus Justus Lipsius Historiographus, Regius Professor Consliarius Etc., Schelte A. Bolswert, 1586–1659, Dutch, Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Stipple

Vessel in Distress of Yarmouth, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Camberwell Green Chapel, unknown artist, nineteenth century, after unknown artist, undated, Engraving, Sheet: 3 7/8 x 4 7/16in. (9.8 x 11.3cm

Lake of Como No. I, Print made by Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

John Hunter, F.R.S., Print made by William Sharp, 1749–1824, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1788, Line engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 31 1/2 × 23 1/4 inches

View of London from Greenwich Park, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Christophorus van der Lamen Antuerpiensis, Pictor Consortii Juvenilis, Peter Clouet, 1629–1670, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving and

Distant View of St. Michel, Print made by Thomas Jeavons, ca. 1800–1867, British, after Clarkson Stanfield, 1793–1867, British, 1834, Etching and line engraving on medium, slightly textured, cream wove paper

The Resurrection of the Dead, Conrad Martin Metz, 1749–1827, German, after Michelangelo, 1474/1475–1564, Italian, 1801, Stipple engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 16 13/16 × 24 1/16 inches

Sir Nathaniel Bacon, Print made by Thomas Chambars, ca. 1724–1789, British, after Sir Nathaniel Bacon, 1585–1627, British, ca. 1793, Etching and stipple engraving on moderately thick, smooth, beige wove paper, Sheet: 11 15/16 x 9

Petrus Stevens, Lucas Vorsterman, 1595–1675, Flemish, 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 on medium, slightly

The Prince of Orange Landing at Torbay, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

The Judgement of Paris, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1785, Line engraving

Crickieth Castle, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, 3rd state on medium, slightly textured, beige, wove paper, Sheet: 11 × 14 7/8 inches (27.9 × 37.8 cm),

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

A Farewell - Lake of Como Number II (vignette), Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Etching and line engraving; first published state on medium, slightly

Confluence of the Seine and Marne, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving on Not signed

View of the Town Hall, St. Margaret's Hill, Southwark, unknown artist, ( Dale ), after unknown artist, ( Ravenhill ), 1825, Engraving

Robertus van Voerst, Calcographus Londini, Robert van Voerst, 1597–1636, Dutch, active in Britain (from 1627), after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving

Elevation of the Front for the Register Offices in Scotland, Morton, active 1767, after Robert Baldwin, active 1763–1769, 1767, Engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 17 5/8 × 22 inches (44.8 ×

The Rhine - Neuwied and Weissenthurm, Print made by Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1852, Line engraving, engraver's proof on medium, slightly textured, cream wove

A Calm, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1754, Etching and line engraving, hand colored with watercolor on moderately thick,

George Horne D.D. Late Lord Bishop of Norwich, Alfred William Warren, active 1791–1809, after Thomas Olive, undated, Steel engraving on medium, cream, slightly textured, cream wove paper, Mount: 24 × 17 1/4 inches (61 × 43.8 cm), Sheet:

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,

The Southeast Prospect of the Church of All Hallows Barking. Eastern Outer Suburb., William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1736, Engraving, Sheet: 11 x 12 1/4in. (27.9 x 31.1cm

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