Images at Librifly

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Worcester, Print made by William John Cooke, 1797–1865, Irish, after John Preston Neale, 1771/80–1847, British, undated, Etching and line engraving on medium, slightly textured, cream wove paper, Sheet: 2 7/8 x 4 1/2 inches (7.3 x 11.4

At Battersea, Thomas Sutherland, ca. 1785–1838, British, after Thomas Sutherland, ca. 1785–1838, British, 1809, Engraving on slightly textured, medium, cream wove paper, Sheet: 9 13/16 × 11 3/4 inches (24.9 × 29.8 cm), Plate: 7 7/8

Cardinal Wolsey Receiving a Letter Sent by Henry VIII, Print made by William Bromley, 1769–1842, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1811, Etching and line engraving

Crosby Hall, London, John Roffe, 1769–1850, British, after Jon Palmer, Died 1770, 1813, Engraving, Sheet: 8 7/16 x 11 5/8in. (21.4 x 29.5cm

Building of a Cutter, Benjamin Thomas Pouncey, active 1772–1799, British, after John Kitchingman, c. 1740–1781, British, 1783, Engraving with watercolor, Sheet: 9 x 12in. (22.9 x 30.5cm

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

Thomas Holles, Duke of Newcastle, Print made by Edward Harding, 1755–1840, British, after William Nelson Gardiner, 1766–1814, Irish, 1802, Stipple engraving on medium, slightly textured, cream wove paper

Lewis Schiavonetti, V.A., Print made by Anthony Cardon, 1772–1813, Flemish, after Henry Edridge, 1769–1821, British, Published by Anthony Cardon, 1772–1813, Flemish, 1811, Stipple engraving on moderately thick, textured, cream

Clarissimus vir Gaspar Gevartius I.C. Antuerpiæ, Graphiarius etc., 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,

St. George's Hospital, William Henry Toms, ca. 1700–ca. 1750, British, after unknown artist, undated, Engraving

Queen Mary of Scots Landing in England, Print made by James Neagle, 1760–1822, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1810, Etching and line engraving on thin,

Duke de Sully's House in the Strand; Durham House, Strand; Guard Room, Scotland Yard; Part of the Old Palace of Whitehall from the Water, John Thomas Smith, 1766–1833, British, after Nathaniel Smith, 1740–1787, And after John Thomas

Poole, Dorsetshire, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1814-1826, Etching and line engraving, 2nd state on moderately thick, moderately textured, cream, wove paper, Sheet: 11

Cupid and Cephisa: 'One Day as I was Walking in the Woods...', Print made by Thomas Burke, 1749–1815, British, after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), Published by Thomas Burke, 1749–1815,

Vincennes, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, first published state

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

A View of the Prince's House at Kew, Print made by Michael 'Angelo' Rooker, 1746–1801, British, after Paul Sandby RA, 1731–1809, British, 1776, Line engraving on medium, moderately textured, cream laid paper, Sheet: 7 9/16 × 10 1/16

A View of London as it appeared before the dreadful Fire in 1666, unknown artist, seventeenth century-eighteenth century, after unknown artist, undated, Hand colored engraving

Distant View of Chester, William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, 1803-1810, Line engraving Open etching

Miss Farren, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), and Charles Knight, 1743–c.1826, British, after Sir Thomas Lawrence, 1769–1830, British, 1792, Etching and stipple engraving

View in the North Aisle: Showing Henry the third Monument, John Le Keux, 1783–1846, British, after John Preston Neale, 1771/80–1847, British, 1817, Engraving

Junction of the Greta and Tees at Rokeby, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Etching and line engraving, engraver's proof on moderately thick, moderately textured, cream,

Lyme Regis, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1814, Etching and line engraving, first published state on thick, moderately textured, cream, wove paper, Sheet: 11 3/4

View of the Inside of a Small Chapel on the West Side of the Area of the Cloisters of St Stephen's Chapel, Westminster, Print made by James Basire, 1730–1802, British, after John Topham, 1746–1803, British, Formerly unknown artist, 1795,

Interior of the Star Chamber, Westminster, Print made by John Woods, active 1836–1860, after Robert William Billings, 1813–1874, British, 1848, Line engraving on smooth, medium thickness, white wove paper, Sheet: 6 × 8 7/8 inches

George Villiers, 1st Duke of Buckingham, unknown artist, after Cornelius Johnson, 1593–1661, British, undated, Line engraving on medium, slightly textured, beige, laid paper, Sheet: 6 3/4 × 4 1/8 inches (17.1 × 10.5 cm) and Image: 6

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

Analysis of Beauty, Plate II, Print made by J. Barlow, active 1791, after William Hogarth, 1697–1764, British, Published by John Boydell, 1720–1804, British, 1791, Etching and line engraving on medium, slightly textured, cream wove

The Great Fire of London, Anker Smith, 1759–1819, British, after Philippe-Jacques de Loutherbourg, 1740–1812, French, active in Britain (from 1771), 1809, Engraving

General View of London during the Great Fire of 1666, Print made by unknown artist, seventeenth century, after unknown artist, undated, Engraving, Great Fire of London, 1666

The Itinerant Potters, John Whessell, 1760–ca. 1823, British, after Francis Wheatley, 1747–1801, British, 1797, Colored stipple engraving on medium, slightly textured, beige, wove paper, Sheet: 24 5/16 × 19 3/16 inches (61.8 × 48.7

St. Martin's in the Fields, John Boydell, 1720–1804, British, after Thomas Boydell, active 1750–1751, 1751, Hand colored engraving, Sheet: 11 7/8 x 17in. (30.2 x 43.2cm

The Lanterne of St. Cloud, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

The Navy Office in Broad Street (Should be Seething Lane), Benjamin Cole, 1697–1783, British, after unknown artist, undated, Engraving

Theocritus, William Blake, 1757–1827, British, Published by Robert John Thornton, 1768–1837, British, 1821, Etching and line engraving on medium, slightly textured, cream wove paper, Spine: 7 1/8 inches (18.1 cm), Sheet: 7 x 4 1/8

Robert Devareux, 2nd Earl of Essex, Jacobus Houbraken, 1698–1780, Dutch, after Isaac Oliver, ca. 1565–1617, French, active in Britain, 1738, Stipple and line engraving on moderately thick, moderatel textured, cream, laid paper,

Paul Sandby, Esq., R.A., Henry Landseer, active 1825, after William Evans, active 1797–1856, British, And: Sir William Beechey, 1753–1839, British, 1809, Engraving

Whitehaven, Cumberland, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, 1st state on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 10 1/16

Loch Leven Castle, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving, engraver's proof, touched

London and Blackfriars Bridge from Hungerford, William Bernard Cooke, 1778–1855, British, after Samuel Owen, 1768–1857, British, 1811, Engraving, Sheet: 8 1/16 x 10 5/16in. (20.5 x 26.2cm

Westminster Hall, East Entrance, Robert Wallis, 1794–1878, British, OR William Wallis, 1794– active 1830, after John Preston Neale, 1771/80–1847, British, 1815, Engraving

Andreas Colyns de Nole Staturius Antuer piae, Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), undated, Etching, line engraving and stipple

The 'Horse and Groom', Lea Bridge, W. R. Smith, active 1819–1851, after unknown artist, ( Thomas C. Hagland ), undated, Engraving

House of Lords, Her Majesty Opening the Session of Parliament, Print made by Henry Melville, active 1826–1841, British, Thomas Hosmer Shepherd, 1792–1864, British, ca. 1837, Line engraving on silghtly textured, moderately thick, white

Richard Morton Paye, Print made by Richard Dagley, ca. 1765–1841, British, after Richard Morton Paye, 1750–1821, British, 1832, Etching and stipple engraving on moderately thick, slightly textured, beige wove paper, Sheet: 11 x 7 5/8

Pamela, being now in the custody of Mrs. Jenkes, seizes an occasion (as they are walking in the garden) to propose a Correspondence with Mr. Williams in order to contrive an Escape, who agree to hide their letters between two tiles near the

Petrarch's Tomb, Print made by Robert Wallis, 1794–1878, British, after Samuel Prout, 1783–1852, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Hotel de Ville and Pont d'Arcole, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

The Roman Forum from the Tower of the Capitol, George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1820, Etching and engraving on moderately thick, slightly textured, cream, wove paper, with

Falstaff and his Friends, William Greatbach, Born 1802, British, after Charles Robert Leslie, 1794–1859, British, ca. 1868, Etching and stipple engraving on moderately thick, smooth, cream card, Sheet: 8 7/8 x 11 inches (22.5 x 28 cm)

St. Agatha's Abbey, Easby, John Le Keux, 1783–1846, British, after Joseph Mallord William Turner, 1775–1851, British, 1822, Line engraving and etching on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet:

The Study, Print made by J. Rogers, active ca.1825–ca.1842, after Hablot Knight Browne, 1815–1882, British, undated, Line engraving on medium, slightly textured, cream wove paper

Scott's Birthplace, no. 39, Castle Street, Edinburgh, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving, engraver's proof

West Window of the Chapel, New College Oxford: The Virtues - Fortitude, George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1782, Stipple engraving on thick, rough, beige, laid paper, Sheet: 25 1/8 ×

Port of Dieppe, in the Department of the Lower Seine, in France, Print made by Charles Warren, 1767–1823, British, undated, Etching and line engraving on medium, slightly textured, cream wove paper

Plymouth Dock from Mount Edgecumbe, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1816, Etching and engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 14

By the Heath, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on thick, slightly textured, cream card mounted on moderately thick, slightly textured,

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

The Ancient Palace at Greenwich called Placentia, the Birthplace of Queen Elizabeth, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Henry Steenwyck, 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

Design for the Mansion House of the Rt. Hon. The Lord Mayor, Paul Fourdrinier, French, after Isaac Ware, c.1707–died 1766, British, 1737, Engraving, Sheet: 24 x 17 3/4in. (61 x 45.1cm

The Lower Lobby, House of Commons, Print made by James Sands, active 1813–1846, Print made by Robert Sands, 1792–1855, British, after John Preston Neale, 1771/80–1847, British, 1815, Line engraving on smooth, medium thickness,

Industry and Idleness, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1807, Engraving

No. 1 - A Table of Hieroglyphics found at Axum, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1771-1789, Engraving

The Birth of Shakespeare, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1782, Engraving

General's Hall in Baxing Lane, Bread St., Cheapside, unknown artist, eighteenth century, after unknown artist, 1795, Engraving, Sheet: 6 3/4 x 8 7/8in. (17.1 x 22.5cm

The Death of Raphael, Print made by John Henry Robinson, 1796–1871, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Chamberry from the Road to Aix, Print made by Edward Francis Finden, 1791–1857, British, after William Brockedon, 1787–1854, British, 1832, Etching and line engraving on medium, slightly textured, cream wove paper

A Man (? Military Hero or ? Poet) offering Gifts at the Altar of Venus, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85),

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

Solomon's Pools, James Stephenson, 1808–1886, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

The Tower Macaroni, Matthew Darly, active 1754–1778, after Matthew Darly, active 1754–1778, 1772, Engraving

Lady Jane Dundas, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Hoppner, 1758–1810, British, ca. 1802, Stipple engraving, mezzotint and etching on moderately thick, moderately

A Mythological Battle, George C. Finden, 1811–1885, British, after Thomas Stothard, 1755–1834, British, Printed by George Virtue, ca. 1820–1908, British, 1853, Line engraving, stipple engraving and etching on thick, slightly

John Milton, William Nelson Gardiner, 1766–1814, Irish, after Cornelius Johnson, 1593–1661, British, 1794, Stipple engraving, Sheet: 9 5/8 x 12 1/8in. (24.4 x 30.8cm

Windsor Castle, Berkshire, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Interior of the Abbey Church, St. Albans, Outer Suburb - North, James S. Storer, 1771–1853, British, after Frederick Nash, 1782–1856, British, 1804, Engraving

Abou Hannes, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Van Son, Alexander Bannerman, ca. 1730–1780, after unknown artist, 1762, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 x 9 inches (29.8 x 22.9 cm), Plate: 7 1/8 x 5 5/8 inches (18.1 x 14.3 cm), and Image: 6

Clerkenwell, unknown artist, after unknown artist, 1806, Engraving

Phalaena Aceris. Acer Rubrum (Grey Maple Moth, Red Maple), Plate 93 from James Edward Smith, the 'Natural History of the Rarer Lepidopterous Insects of Georgia', London, 1797, Print made by John Harris the elder, 1767–1832, British, after

Scio (Fontana de Melek Mehmet Pasha), Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Etching and engraving, engraver's proof

Gate-Way of the Bloody Tower, Frederick Nash, 1782–1856, British, after Frederick Nash, 1782–1856, British, 1821, Engraving

A View of the Great Cohoes Falls, on the Mohawk River, Print made by William Elliot, active 1774, died 1792, British, after Paul Sandby RA, 1731–1809, British, after drawing by Thomas Pownall, 1722–1805, British, Published by John

A View at Lewisham in Kent, unknown artist, eighteenth century, after unknown artist, 1770, Hand colored engraving, Sheet: 6 7/8 x 11in. (17.5 x 27.9cm

Charing Cross, Thomas Medland, 1755–1823, British, after unknown artist, ( Miller ), 1795, Engraving, Sheet: 8 1/4 x 9 7/8in. (21 x 25.1cm

February, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1793, Engraving

His Majesty Recommending a Law (Designs for the Walls of the Great Room of the Society for the Encouragement of the Arts), James Barry, 1741–1806, Irish, after 1783, Engraving, Sheet: 16 x 19in. (40.6 x 48.3cm

Christ in the Sepulchre, after Giovanni Guercino, 1591–1666, Italian, Published by John Major, active 1828–1833, British, 1832, Line engraving and etching on medium, slightly textured, cream wove paper

Babylon, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Engraving

J. Kirby, D. P. Pariset, born 1740, active in Britain from 1767, French, after Pierre-Etienne Falconet, 1741–1791, French, 1768, Stipple engraving

Specimens of Beaver's Military Punishments, 1725, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1809, Etching and line engraving on medium,

John the Second Surrendering to Denis de Morbec, Print made by John Jones, ca. 1745–1797, British, after James Roberts, active 1766–1809, British, 1792, Stipple engraving on medium, slightly textured, cream wove paper

St Paul Preaching in Athens, 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,

Thomas Wilson Esquire, Print made by Henry Dawe, 1790–1848, British, after George Dawe, 1781–1829, British, undated, Mezzotint and line engraving on medium, slightly textured, cream laid paper

Loch Katrine, 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

Mater Purissima, Print made by Henry Bonnart, 1642–1711, French, after Henry Bonnart, 1642–1711, French, undated, Etching, drypoint prints, and stipple engraving on medium, slightly textured, cream laid paper, Sheet: 6 5/8 x 4 7/16

St. Germains, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Lambeth Palace, Sparrow, active 1773–1787, after unknown artist, 1773, Engraving

The Forge, Print made by James Sharples, 1825–1892, British, after James Sharples, 1825–1892, British, 1859, Line engraving on thick, slightly textured, cream wove paper, Sheet: 22 × 30 inches (55.9 × 76.2 cm), Plate: 17 7/8 × 21

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