Images at Librifly

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Lulworth Cove, Dorset, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1811-1812, Etching and line Engraving, engraver's proof on medium, slightly textured, beige, wove paper,

Donnington Castle, William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, 1803-1810, Line engraving, published state (India

Bridge of St. Cloud and Sevres, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

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 5/16 x 5 3/16 inches (5.8 x 13.2 cm) and Image: 1

A Representation of the March of the Guards towards Scotland in the Year 1745 (from: Caricature, vol. 5), Luke Sullivan, 1705–1771, British, And William Hogarth, 1697–1764, British, after William Hogarth, 1697–1764, British, 1745,

Canja Undersail, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Colonel Stanley, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Henry Edridge, 1769–1821, British, undated, Stipple engraving and etching on thin, smooth, cream wove paper, Sheet: 6

The Taking of the Nuestra Senora de los Remedios, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1753, Etching and line engraving on

The Drinking Well in Hyde Park, James Godby, active 1790–1820, British, after Maria Spilsbury, 1777–c.1823, British, 1802, Hand-colored stipple engraving

Bethlehem, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving

Solway Firth from Allonby, Cumberland, Print made by Edward Francis Finden, 1791–1857, British, after Anthony Vandyke Copley Fielding, 1787–1855, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper

A Plate from Orlando Furioso: Depicting Orlando and Rodomont Fighting, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85),

Moon-Light, 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

Young's Night Thoughts, Page 8, 'Death! Great Proprietor of All!', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine: 17 1/2

Rouen Cathedral, Thomas Higham, 1796–1844, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving

Illustrations to Samuel Richardson's 'The Life of Pamela', illustrated by Joseph Highmore, L. Truchy, 1721–1764, after Joseph Highmore, 1692–1780, British, 1762, Engraving, Plate: 11 3/4 x 14 13/16in. (29.8 x 37.6cm) and Sheet: 14 3/16 x

A View from Constitution Hill, Anno 1735, Edmund Scott, c.1746–1810, after Augustin Heckel, (after J.H.), active 1690–1770, German, 1779, Engraving

For the Sexes: The Gates of Paradise, Plate 12, 'Help! Help!', 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),

St. Cuthbert's Church, Wells, Somersetshire, Print made by John Greig, active 1800–1853, British, after Henry Gastineau, 1791–1876, British, 1816, Etching and line engraving on medium, slightly textured, cream wove paper

Johnnie Armstrong's Tower, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Bowes Tower, 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

Margareta Princeps Lotharingia Ducissa, Serema. Aurellianensis, Schelte A. Bolswert, 1586–1659, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving on

Verona, Print made by John Woods, active 1836–1860, after G. F. Sargent, active 1842–1860, British, 1841, Line engraving on medium, slightly textured, cream wove paper

The Triumph of Britannia, Simon Francois Ravenet, 1721–1774, French, active in Britain, after Francis Hayman, 1707/8–1776, British, c. 1765, Engraving, Sheet: 15 x 20 1/2in. (38.1 x 52.1cm), allegory, chariot, fish, horses

Plate XII: St Stephen's Chapel, Print made by James Basire, 1730–1802, British, after John Topham, 1746–1803, British, Formerly unknown artist, 1795, Line engraving on slightly textured, moderately thick, white wove paper bar scale of

Benjamin West, P.R.A., James Fittler, 1758–1835, British, after George Henry Harlow, 1787–1819, British, Published by James Fittler, 1758–1835, British, 1817, Line engraving, etching and stipple engraving on moderately thick,

Spanish Palace at Naples, Print made by unknown artist, (de Bois), Published by John Bowles, 1701–1779, British, undated, Etching and line engraving on medium, slightly textured, cream laid paper, laid on contemporary mount made of

The Castle Rhine, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving, engraver's proof on thick, slightly textured, cream, wove paper, with cream, chine colle,

Windsor Castle, Print made by Pieter van der Aa, 1659–1733, Dutch, 1727, Line engraving on medium, slightly textured, cream laid paper, Sheet: 6 1/8 × 6 7/8 inches (15.6 × 17.5 cm

Frontispiece for 'Antiquities at Pola', George Cooke, 1781–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1818, Line engraving and etching engraver's proof on thick, slightly textured, cream, wove paper,

John Fletcher, Print made by George Vertue, 1684–1756, British, 1729, Line engraving on medium, slightly textured, cream laid paper

West Window of the Chapel, New College Oxford, Adoration of the Shepherds, From the Nativity Scene, George Siegmund Facius, 1750–1804, And Johann G. Facius, 1750–after 1802, German, after Sir Joshua Reynolds RA, 1723–1792, British,

Stamford, Lincolnshire, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 9/16 × 14

The Eclipse of the Sun as it will appear at London on July 14, 1748, Print made by unknown artist, nineteenth century, after Anthony Walker, 1726–1765, British, 1748, Engraving, astronomy, eclipse (astronomical), moon, sun

Plan of the Palace of Westminster, Richard Sawyer, active 1820–1830, after unknown artist, 1804, Engraving

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

Smailholme, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Old Houses with the Open Part of the Fleet Ditch near Field Lane, Print made by John Wykeham Archer, 1808–1864, British, 1841, Etching and line engraving on medium, slightly textured, cream wove paper

The Rhine - Neuwied and Weissenthurm, Print made by Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1852, Etching and line engraving; first published state on medium, slightly textured,

Andrew Kippis, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Artaud, 1763–1823, British, 1792, Engraving

Troyes, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof, (early

Clovelly Bay and Lundy Island, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1814 to 1826, Etching and line engraving; engraver's proof on medium, slightly textured, cream

Death, Newton Limbird Smith Fielding, 1799–1856, British, 1853, Engraving, hand-colored, Sheet: 6 x 7 3/4in. (15.2 x 19.7cm

Horace Walpole, Burnett Reading, active 1776–1822, after Sir Joshua Reynolds RA, 1723–1792, British, undated, Line engraving and stipple engraving on medium, slightly textured, cream, laid paper, Sheet: 6 1/8 × 4 7/16 inches (15.6 ×

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), 1780, Etching and line engraving

Pl. 2: Ciampolo Tormented by the Devils '...seiz'd on his arm, / And mangled bore away the sinewy part.' Hell; Canto xxii. line 70., William Blake, 1757–1827, British, 1827, Line engraving on medium, slightly textured, cream wove India

Humours of an Election Entertainment, 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, slightly

Head of St. John Baptist on a Charger, Print made by Theodore Casper von Furstenberg, ca. 1615–1675, German, ca. 1656, Mezzotint and line engraving on medium, slightly textured, cream laid paper, Sheet: 14 1/8 × 18 1/4 inches (35.9 × 46.4

Racing Hap-Hazard. The Property of the Rt. Hon. the Earl of Darlington, William Bernard Cooke, 1778–1855, British, And George Cooke, 1781–1834, British, after Benjamin Marshall, 1768–1835, British, 1805, Engraving, Sheet: 21 x 26

General Post Office, John Woods, active 1836–1860, after Hablot Knight Browne, 1815–1882, British, And Robert Garland, c. 1808–1863, c. 1835, Engraving

Florence from Fiesoli, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1819, Etching and engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 10 1/2 × 15 1/8 inches (26.7

The Southwest Prospect of the Church of St. Giles Without Cripplegate, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1737, Engraving, Sheet: 10 7/8 x 12 1/4in. (27.6 x 31.1cm

Palais at Blois, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, etching and engraving on medium, slightly textured, beige, wove paper, Sheet: 4 15/16 × 7 3/16 inches (12.5 × 18.3

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

The Vulture Landing Despatches at Dantzic, Print made by James T. Willmore, 1800–1863, British, after John Wilson Carmichael, 1799–1868, British, Published by Virtue, active 1820s–1908, British, undated, Line engraving on medium,

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 with chine-coll

Barber's Surgeon Hall, Monkwell Street, unknown artist, after unknown artist, 1800, Engraving

Canja Undersail, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

Abbotsford, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1847, Line engraving

Speculum Romanae Magnificentiae, Antonio Lafreri, 1512–1577, French, 1546-1590, Line engraving on medium, slightly textured, cream laid paper

Samuel Johnson with Figures, William Home Lizars, 1788–1859, British, after unknown artist, undated, Engraving, Sheet: 5 1/2 x 3 3/8in. (14 x 8.6cm

Craigmillar Castle, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, first published state

Brinkburn Priory, Northumberland, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

David Garrick, Esq., Print made by John Hall, 1739–1797, British, after Nathaniel Dance RA, 1735–1811, British, Published by John Bell, 1745–1831, British, 1773, Line engraving and etching on medium, slightly textured, beige laid

Sir Philip Sidney, George Vertue, 1684–1756, British, after Isaac Oliver, ca. 1565–1617, French, active in Britain, 1741, Stipple engraving, line engraving and etching on moderately thick, slightly textured, cream, laid paper,

St. Stephan's Dom-Kirche, from Stock Am Eisen, Vienna, Print made by J. Henshall, after Robert Batty, 1789–1848, British, 1822, Line engraving on medium, slightly textured, cream wove paper

Lancaster from the Aqueduct Bridge, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Prudoe Castle, Northumberland, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

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,

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

Plate IX: Perspective View of all the Machinery of a Bleach Mill, upon the Newest and Most approved Constructions, Consisting of the Wash Mill, Rubbing Boards moved by a Crank, and Beetling Engine for Glazing the Cloth, with a View of the

Sir Walter Ralegh, Jacobus Houbraken, 1698–1780, Dutch, after unknown artist, 1739, Engraving

Young's Night Thoughts, Page 25, 'Behold Him, When Past by; What Then Is Seen', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

The ceremony of a Japanese Marriage, Anker Smith, 1759–1819, British, 1768, Engraving

View of the Interior Court of the Royal Exchange, George Vertue, 1684–1756, British, after unknown artist, 1739, Engraving

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

St. Anne's Hill, No. I, 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: 17

View of the Porta Ferrea, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1764, Etching and line engraving on moderately thick, slightly textured, cream laid paper

Lillebourne Chateau, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and line engraving

Young's Night Thoughts, Page 88, 'But for the Blessing Wrestle Not with Heaven', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Bridges of St. Cloud and Sevres, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

Junction of the Greta and the Tees, Print made by John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof on medium, slightly textured, cream wove paper

Dryburgh Abbey, Print made by William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, before title on medium, slightly textured, cream wove paper with chine-coll

Francis Earl of Bedford, Print made by George Vertue, 1684–1756, British, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1737, Line engraving, stipple engraving and etching on

A Prospect of the New Aqueduct of Lisbon, as crossing over the Valley of Alcantra on Stone Arches, the Largest of which is 150 feet wide, and 249 feet High. Which is 47 feet higher than the Monument in London, Thomas Bowles, ca. 1712–died

Shakspeare, Peltro W. Tomkins, 1760–1840, British, after Richard Corbould, 1757–1831, British, after Edward Burch, 1730–1814, British, 1804, Line engraving and etching on wove paper, Image: 3 1/4 x 2in. (8.3 x 5.1cm) and Sheet: 4 x

The Boy of Egremond, 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, with cream,

Inside of the Duke's Theatre in Lincoln's Inn Fields, Richard Sawyer, active 1820–1830, after unknown artist, 1809, Engraving, Sheet: 12 3/4 x 9in. (32.4 x 22.9cm

Conversation in the Manner of Van Dyck, Print made by J. Barlow, active 1791, after Hogarth Arts, Published by Samuel Ireland, active 1760–died 1800, British, 1799, Etching and line engraving on medium, slightly textured, cream wove

Jerusalem, Pool of Bethesda, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835-1836, Line engraving, engraver's proof

Land Discovered by Columbus, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, 1st state on moderately thick, slightly textured, beige, wove paper, Sheet: 11 5/8

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

Thomas Fairfax, 3rd Lord Fairfax of Cameron, Jacobus Houbraken, 1698–1780, Dutch, 1738, Engraving on moderately thick, slightly textured, cream, laid paper, Sheet: 15 1/2 × 10 1/16 inches (39.4 × 25.6 cm), Plate: 14 1/2 × 9 inches

Cornelius Schut, Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Engraving

Jacques discovered by the Duke, John Chapman, active ca. 1792–1823, British, after Henry William Bunbury, 1750–1811, British, 1795, Engraving, Bow and arrow, dogs (animals), literary theme, woods

Jerusalem, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, first published state

Abbotsford, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1841, Line engraving

The Charter House, unknown artist, seventeenth century-eighteenth century, after unknown artist, undated, Engraving, Sheet: 5 1/16 x 8 3/16in. (12.9 x 20.8cm

Francis Bartolozzi, Robert Marcuard, 1751–1792, after Sir Joshua Reynolds RA, 1723–1792, British, 1784, Stipple engraving on moderately thick, slighlty textured, cream, laid paper, Sheet: 12 13/16 × 10 5/16 inches (32.5 × 26.2 cm)

Hamlet, Act IV, Scene v, Elsinore --King, Queen, Laertes, Ophelia, etc., Print made by Francis Legat, 1755–1809, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1803, Engraving, unfinished state,

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