Images at Librifly

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The Ring, 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

The Drachenfels, William Finden, 1787–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Etching and engraving, First published state on moderately thick, moderately textured, cream, wove paper, with

River and City from Milford Stairs, Wenceslaus Hollar, 1607–1677, Bohemian, after Wenceslaus Hollar, 1607–1677, Bohemian, c. 1647, Engraving

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

A View of Grosvenor Square, London, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1794, Hand colored engraving

Sir William Beechey, R. A., Print made by Richard Cooper the Younger, 1740–1814, British, after William Evans, active 1797–1856, British, after Sir William Beechey, 1753–1839, British, Published by Thomas Cadell the younger,

Edmund Spenser, George Vertue, 1684–1756, British, after unknown artist, 1727, Stipple engraving, line engraving and etching on moderately thick, moderately textured, beige, laid ppaer, Sheet: 14 7/8 × 9 15/16 inches (37.8 × 25.2 cm),

James Northcote, Benjamin Holl, 1808–1884, British, after Abraham Wivell, 1786–1899, British, 1831, Stipple Engraving

Northeast and East Views of the Old Houses of Parliament, John Thomas Smith, 1766–1833, British, after Paul Sandby RA, 1731–1809, British, and unknown artist, 1805, Engraving

John Riley and Egbert Hemskirt, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 10 1/2 x 8 inches (26.7 x 20.3 cm), Plate: 7 5/8 x 5 3/4 inches (19.4

St. Germain-en-Laye, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828-1837, Line engraving, engraver's proof (touched) on thick, slightly textured, beige, wove paper, with cream, chine

Rebecca First Lady Northwick, 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 3/16 x 7 7/8 inches

The Queen's Palace in St. James Park, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 7 1/8 x 10 5/8in. (18.1 x 27cm

William, Duke of Gloucester, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1745, Line engraving on medium, slightly textured, cream laid paper

View of London from Blackheath, Richard Bernard Godfrey, 1728–op.1794, British, after Thomas Wyck, 1616–1677, Dutch, OR after Jan Wyck, ca. 1645–1700, Dutch, active in Britain (from ca. 1664), 1776, Engraving, Sheet: 7 7/16 x 11

The Drinking Well in Hyde Park, James Godby, active 1790–1820, British, after Maria Spilsbury, 1777–c.1823, British, 1802, Colored stipple engraving, Sheet: 21 1/8 x 25 7/8in. (53.7 x 65.7cm

The Dead Eagle - Oran, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Etching and engraving, with scraping out and touched with graphite (Engraver's Proof) on moderately thick,

Casade of Terni, John Landseer, 1769–1852, British, after Joseph Mallord William Turner, 1775–1851, British, 1819, Etching and line engraving on medium, slightly textured, cream, wove paper, Sheet: 15 1/8 × 10 5/8 inches (38.4 × 27

Caryophyllus X. Mercurius. Plate 67 from 'Hortus Nitidissimis Omnem per Annum Superbiens Floribus', Nuremberg, 1768, Print made by Adam Ludwig Wirsing, 1733–1797, German, after Georg Dionysius Ehret, 1708–1770, German, 1768, Engraving

The Right Honorable Lady Beauchamp, Print made by William Nutter, 1754–1802, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Stipple engraving and line engraving on moderately thick, moderately textured, cream, laid

James Gibbs, 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: 8 3/4 x 6 1/2 inches (22.2 x 16.5 cm),

Merchant...Act V, Scene 1, Page, fl. 1784–1803, after Charles Ansell, ca.1752–active 1790, British, 1790, Engraving

Chairing the Members, Print made by Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, Published by Longman, active 1804–1914, British, 1807, Etching and line engraving on medium, slightly textured, cream

Narcissus, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Benedetto Luti, 1666–1724, Italian, 1763, Engraving

Ticket for the Benefit of Mr. Giardini, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1782, Etching and line engraving

Field Marshal the Duke of Wellington, K.G.&c.&c. Giving Orders to His Generals Previous to a General Action, Anker Smith, 1759–1819, British, after Thomas Heaphy, 1775–1835, British, 1822, Engraving on moderately thick, slightly

Evening, Print made by John Browne, 1741–1801, British, after John Browne, 1741–1801, British, Published by John Boydell, 1720–1804, British, Published by Josiah Boydell, 1752–1817, British, ca. 1797, Etching and line engraving

Naval Design on Wrapper, unknown artist, after Joseph Mallord William Turner, 1775–1851, British, 1826-1828, Engraving (as published

The Temple Church as Restored, John Carter, 1748–1817, British, 1828, Engraving

Patience on a Monument, James Gillray, 1757–1815, British, 1791, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Family Group, of a Man his Wife and Baby, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Samuel Shelley, 1750–1808, British, 1783, Engraving

Male Nude from Panel of 'God Separating Light from Dark', 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

Westminster from Vauxhall, George Cooke, 1781–1834, British, after Samuel Prout, 1783–1852, British, 1827, Engraving

Woman ministering to wounded Soldier, he is being held by another Soldier, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 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, etching and graphite, engraver's proof on moderately thick, slightly textured, cream, wove

Ophelia vide Hamlet, Act 4, Scene VII, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Henry Tresham, 1751–1814, British, 1794, Engraving

Henry Bennet Earl of Arlington, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1739, Etching and line engraving on medium, slightly textured, cream laid paper

Plate X: St Stephen's Chapel, Print made by James Basire, 1730–1802, British, Artist John Topham, 1746–1803, British, Formerly unknown artist, 1795, Line engraving on slightly textured, moderately thick, white wove paper, Sheet: 15

Whalers, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Girl Sewing, 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 on moderately thick,

Captain Conquest and His Baggage Wagon, Print made by John Goldar, 1729–1795, British, after Samuel Hieronymus Grimm, 1733–1794, Swiss, Published by Robert Sayer, 1725–1794, British, Published by James Sayer, 1748–1823, British,

Cornelia, Mother of the Gracchi, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1788, Engraving

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 thick, slightly textured, cream, wove paper, with cream, chine

A View of Part of the Garden at Hall Barn, William Woollett, 1735–1785, British, 1760, Engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 17 1/4 × 23 7/8 inches (43.8 × 60.6 cm), Plate: 14 3/4 × 21 1/2 inches

The Southeast Prospect of the Chapel Royal of St. Peter in the Tower, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1737, Engraving, Sheet: 11 x 12 3/8in. (27.9 x 31.4cm

Plan of the Regent's Canal in the County of Middlesex, unknown artist, ( Tyler ), after unknown artist, 1819, Engraving

Bowes Tower (Vignette), Print made by Edward Webb, active 1805–1854, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

HMS Bellerophon, Plymouth Sound, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving, engraver's proof

Frances Grey (née Brandon), Duchess of Suffolk and her Husband Adrian Strokes, George Vertue, 1684–1756, British, after Lucas de Heere, 1534–1584, Netherlandish, 1748, Stipple engraving and line engraving on moderately thick,

Saumur, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on medium, smooth, white, wove paper, Sheet: 7 × 10 5/8 inches (17.8 × 27 cm), Plate: 5 13/16 × 9 inches

The Quirinal, or Palace of the Pope on Mount Cavallo at Rome, Remi Parr, active 1723–1750, British, after unknown artist, (Falda, G.), undated, Hand-colored engraving on wove paper, Sheet: 12 1/2 x 18in. (31.8 x 45.7cm), architectural

Petrarch's House at Arqua, Print made by W. R. Smith, active 1819–1851, after Samuel Prout, 1783–1852, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

St. Julian's, Tours, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and engraving, engraver's proof

The Bear Garden, unknown artist, after unknown artist, 1810, Engraving

Young's Night Thoughts, Page 19, 'Emblem of that which shall awake the dead', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Part of Balliol College Quadrangle, Print made by Joseph Skelton, active 1820–1850, after Henry O'Neill, 1798–1880, Irish, after Joseph Mallord William Turner, 1775–1851, British, 1820, Line engraving Published state on medium,

The Right Honourable Spencer Perceval, William Skelton, 1763–1848, British, after Sir William Beechey, 1753–1839, British, 1813, Line engraving on thick, moderately textured, cream, laid paper, Sheet: 17 11/16 × 13 5/8 inches (44.9

Newcastle House, Clerkenwell Close, T. Prattent, active 1751, after T. Prattent, active 1751, 1791, Engraving, Sheet: 4 3/4 x 6 3/8in. (12.1 x 16.2cm

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

Jacobus Jordaens, Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Etching, line engraving and stipple engraving, (1st state) on

For the Sexes: The Gates of Paradise, Plate 9, 'Alas!', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 13 3/4 inches (34.9 cm), Sheet: 13

Night and a Ship on Fire, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Peter Monamy, 1681–1749, British, Published by John Bowles, 1701–1779, British, 1745, Line engraving and etching on

Two Views of the Monument of John Tradescant in the Church of St. Mary, James Basire, 1730–1802, British, after Benjamin Thomas Pouncey, active 1772–1799, British, 1773, Engraving

Hercules, Deianeira and Nessus, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1787, Engraving

Ancient Italy - Ovid Banished from Rome, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1842, Etching and line engraving, with scraping out and touched with graphite and

George Vertue, Print made by George T Doo, 1800–1886, British, after George Vertue, 1684–1756, British, 1849, Line engraving and etching on moderately thick, moderately textured, cream laid paper with cream chine collé, Sheet: 9 5/8 x

A Cudgelling Match between English and French Negroes in the Island of Dominica, Print made by Agostino Brunias, 1728–1796, Italian, active in Britain (1758–70; 1777-80s), after Agostino Brunias, 1728–1796, Italian, active in Britain

John Howard, Esq. Visiting and Relieving the Miseries of a Prison, Print made by Jacob Hogg, active 1751, British, after Francis Wheatley, 1747–1801, British, 1790, Etching and engraving on medium, moderately textured, cream wove paper,

Building at the Entrance of Little St. Helen's, lately a Dissenting House, unknown artist, after unknown artist, 1800, Engraving

Simon de Vos, Pictor in Humanis Figuris Majoribus, et Minoribus Antuerp, 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,

Venus Chiding Cupid, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1784, Stipple engraving and etching on moderately thick, moderately

A View of the Garden of the Earl of Burlington at Chiswick, unknown artist, John Donowell, active 1753–1786, after John Donowell, active 1753–1786, c. 1753, Engraving, Plate: 10 5/8 x 16 1/4in. (27 x 41.3cm

Plate 24 (page 43): 'NIGHT/ THE/ THIRD, / NARCISSA', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

One of Seven Engraved Reproductions from 'Roger's Italy', M. H. Long, after Joseph Mallord William Turner, 1775–1851, British, 1884, Engraving

The Bride, Print made by Henry Ryall, 1811–1867, British, after Alfred Edward Chalon, 1780–1860, British, undated, Engraving with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 7 9/16 × 5 3/16

The Devil to Pay; The Wife Metamorphos'd or Neptune reposing after Fording the Jordan, James Gillray, 1757–1815, British, 1791, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

John Locke, Print made by John Chapman, active ca. 1792–1823, British, 1811, Colored stipple engraving on thick, slightly textured beige card, Sheet: 9 7/16 x 7 9/16 inches (23.9 x 19.2 cm), Plate: 6 7/16 x 4 7/16 inches (16.4 x 11.3 cm),

Cottagers at the Bottom of Mt. Vesuvius, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Catherine Gauffier, 19th century, French, 1799, Engraving

Book of Job, Plate 10, Job Rebuked by His Friends, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 14 7/8 × 10 7/8 inches (37.8 × 27.6 cm), Plate: 8 1/2 × 6 3/4 inches

Wycliffe, near Rokeby, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1818-1823, Line engraving and etching, engraver's proof on medium, slighlty textured, cream, laid paper, Sheet: 8 1/2 ×

The Inside of Westminster Abbey, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, 1753, Hand colored 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,

Shipbuilding (An Old Oak Dead), Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet:

Venus Attiring by the Graces, Print made by Bernard Lens, 1659–1725, British, after Francesco Albani, 1578–1660, Italian, undated, Mezzotint with line engraving on moderately thick, moderately textured, cream laid paper, Sheet: 11 1/8

Buckfastleigh Abbey, Devonshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with beige, chine

Cheapside Cross, unknown artist, eighteenth century, after unknown artist, 1793, Engraving, Sheet: 8 3/4 x 6 3/4in. (22.2 x 17.1cm

Set of Needle-Box Prints, Bradshaw & Blacklock, active ca.1850, British, after 1850, Etching, stipple engraving and aquatint, with color woodcut on cream card mounted on beige card, Sheet: 2 1/4 x 5 1/4 inches (5.7 x 13.3 cm) and Image: 1

St. Ethelburga, Joseph Skelton, active 1820–1850, after John Coney, 1786–1833, British, 1807, Engraving, Sheet: 11 1/2 x 8 7/16in. (29.2 x 21.4cm

Illustrissmus Princeps Ambrosius, Spinola, Marchio Sest I, 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

Whitby, 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

Cusso or Banksia Abissinica 1789, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Hand colored engraving

For the Sexes: The Gates of Paradise, Plate 3, 'I found him beneath a Tree', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 13 3/4 inches

Psyche going to Dress, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1786, Engraving

Henry VII, Attributed to Renold Elstrack, 1570–1625(?), British, Published by Compton Holland, active 1616–d.1621, British, 1618 or 1628, Line engraving on medium, slightly textured, beige laid paper, Sheet: 8 3/8 x 5 5/8 inches (21.2

January, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, 1788, Engraving

Plate 4 (page 7): 'Till at Death's toll, whose restless iron tounge', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

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

Cristina, Print made by Daniel Allen, active 1830s, British, after Thomas Stothard, 1755–1834, British, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Wolf's Hope, James H. Kernot, active early 19th century, after Joseph Mallord William Turner, 1775–1851, British, 1843, Line engraving

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

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