Images at Librifly

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Venus and Adonis, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, 1778, Engraving

Malcolm Fleming of Barochan 1745-1811. Hawking..., Charles Turner, 1774–1857, British, after James Howe, 1780–1836, British, 1834, Engraving, mixed method, Sheet: 21 7/8 x 24 5/8in. (55.6 x 62.5cm

The Medici Vase, Print made by Daniel Allen, active 1830s, British, after Titian, 1488/90–1576, Italian, 1830, Etching and line engraving on medium, slightly textured, cream wove paper

Leicester, Leicestershire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Ancestor of Christ from Aminadab Lunette (Right Figure), 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

Compartment on One Side, St Stephen's Chapel, Print made by John Le Keux, 1783–1846, British, after William Henry Bartlett, 1809–1854, British, after John Carter, 1748–1817, British, 1825, Line engraving on smooth, moderately

Crichtoun Castle, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

And as he Reasoned of Righteousness, Temperance, and Judgment to Come, Felix Trembled, Luke Sullivan, 1705–1771, British, after William Hogarth, 1697–1764, British, 1752, Engraving, Sheet: 15 x 19 3/4in. (38.1 x 50.2cm

Chiswick, Thomas Preist, active 1740-1750, British, after Thomas Preist, active 1740-1750, British, 1738, Engraving, Sheet: 10 x 14 1/8in. (25.4 x 35.9cm

Tellicherry, Print made by Gerard van der Gucht, 1696–1776, British, after Samuel Scott, 1701/2–1772, British, after George Lambert, 1700–1765, British, undated, Line engraving with hand coloring in watercolor on medium, slightly

Bridge over St. Cloud from Sevres, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof (early

Homeward Bound, Distant View of the Brill, Print made by William Miller, 1796–1882, British, after Clarkson Stanfield, 1793–1867, British, Published by Longman, active 1804–1914, British, 1833, Line engraving on medium, slightly

South East View of the Princes Chamber, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1809, Engraving

Coriolanus, Act 5, Scene III, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), 1783, Engraving

Perspective View of the North & East Fronts of the Buildings Connected with the Houses of Parliament and Courts of Law &c. &c., and Showing the Alterations Suggested by Colonel Trench, Print made by R.C. Roffe, active in London 1806–1835,

Travelling Monks, 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

Cheapside Cross (as it apperared in the Year 1547), unknown artist, nineteenth century, after unknown artist, 1809, Engraving, Sheet: 9 3/4 x 11 15/16in. (24.8 x 30.3cm

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,

Ci-devant Occupations - or - Madame Talian and the Empress Josephine dancing Naked before Barrass in the Winter of 1797, James Gillray, 1757–1815, British, 1805, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Plan of Westminster Abbey and Environs for the Coronation of George IV, James Wyld, 1790–1836, British, after James Wyld, 1790–1836, British, 1821, Engraving

Lady Jane Grey, William Finden, 1787–1852, British, after Thomas Stothard, 1755–1834, British, 1834, Line engraving and stipple engraving on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17

Ticket to Wynnstay Theatre, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Henry William Bunbury, 1750–1811, British, 1803, Etching and stipple engraving on medium, slightly textured, cream laid

Fowl Body, Lateral View (Probably Prepared for Transfer to the Plate for Engraving the Key Figure to Table X), George Stubbs, 1724–1806, British, 1795 to 1806, Graphite and red chalk; verso: graphite and red chalk on thin, slightly textured,

The Summit of Cader Idris Mountain, Edward Rooker, 1724–1774, British, Michael 'Angelo' Rooker, 1746–1801, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1775, Line engraving and etching on

Chatham, Kent, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving and etching, 3rd state on moderately thick, smooth, beige, wove paper, Sheet: 10 5/8 × 14 3/4 inches

Vue de Charing Cross a Londres, Charles H. Onghena, 1806–1886, Belgian, after unknown artist, undated, Hand colored engraving

Young's Night Thoughts, Page 55, 'Ungrateful, shall we grieve their hovering shades', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Beggar's Opera, Act III, William Blake, 1757–1827, British, after William Hogarth, 1697–1764, British, 1790, Engraving

Abbotsford from the Northern Bank of the Tweed, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1839, Line engraving, Cut impression

Richard Edgcumbe, 1st Baron Edgcumbe, unknown artist, after Sir Joshua Reynolds RA, 1723–1792, British, 1798, Stipple engraving on moderately thick, moderatley textured, cream, wove paper, Sheet: 10 3/8 × 8 9/16 inches (26.4 × 21.7

Circi Maximi Descriptionem, Print made by Nicolas Beatrizet, 1507 or 1515–ca. 1565, French, after Pirro Ligorio, ca. 1500–1583, after Pirro Ligorio, ca. 1500–1583, Published by Pauli Gratiani, active 1582, Italian, Published by

Plate XXVIII: Window of the Crypt of St. Stephen's Chapel, Westminster, Print made by T. Clarke, 1799–1839, after Robert William Billings, 1813–1874, British, 1835, Line engraving, proof before letters on smooth, medium thickness,

Illussma. Dña Genovesa D'Urphe, Vidua. Caroli. Alexand. Duc, Croi, Marchion. de Havre. Etc., Pieter de Jode, ca. 1606–1674, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41),

Joseph Addison Esquire, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1748, Line engraving on medium, slightly textured, cream laid paper

Achim, 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

Richmond Terrace, Surrey, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (early

The Affectionate Daughter, John Eginton, active 1763–1800, after Francis Wheatley, 1747–1801, British, Published by John Eginton, active 1763–1800, and J. F. Tomkins, active 1789–1800, British, 1792, Stipple engraving, printed in

Margate, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1823, Etching and line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 × 17 1/4 inches

North East View of Waltham Abbey Church, John Greig, active 1800–1853, British, after John Greig, active 1800–1853, British, 1804, Engraving

Coventry, Warwickshire, S. Fisher, active 1831–1844, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

The Thames from Greenwich Park, Engraved by William Bernard Cooke, 1778–1855, British, after Peter DeWint, 1784–1849, British, 1822, Engraving, Plate: 6 1/2 x 9 5/8in. (16.5 x 24.4cm) and Sheet: 7 x 10 1/8in. (17.8 x 25.7cm

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

Sir Samuel Garth, Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1748, Engraving; Proof before letters, with engraver's name and date only, Sheet: 18 1/2 x 11 15/16in.

Joseph, 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

For the Sexes: The Gates of Paradise, Plate 4, 'Water', 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

St. Anne's Hill, No. I, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

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

Chelsea College as Originally Intended, unknown artist, eighteenth century, after unknown artist, 1788, Engraving, Sheet: 7 3/8 x 7 7/16in. (18.7 x 18.9cm

Humours of an Election Entertainment, Print made by T. E. Nicholson, active early 19th century, British, after William Hogarth, 1697–1764, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper

Dom Carolus de. Columna. a. Cons. Stat. Prim. a. Cubit Reg. Mat. Cath. Magister Campi..Gnalis. in Belg. Etc., Paulus Pontius, 1603–1658, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34;

The Alps at Daybreak, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving on moderately thick, slightly textured, beige, wove paper, with gray, chine colle,

The Sea The Sea (vignette), James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Line engraving, engraver's proof on thick, slightly textured, beige, wove paper, with gray, chine

Langborn Ward and Candlewick Ward, Benjamin Cole, 1697–1783, British, after unknown artist, 1755, Engraving

Cowdray Court from the Lodging House, Capt. Francis Grose, 1731–1791, British, James Basire, (?), 1730–1802, British, after unknown artist, (Mr. Russel), after Samuel Hieronymus Grimm, (?), 1733–1794, Swiss, undated, Line

Blois, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving; engraver's proof

The Cotillion Dance, Print made by James Caldwall, 1739–1819, British, after John Collet, ca. 1725–1780, British, Published by Robert Sayer, 1725–1794, British, and John Smith of Cheapside, active ca. 1750–1789, British, 1771,

The Triumph of Beauty and Love, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1783, Engraving

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

Inverary, James Heath, 1757–1834, British, after Joseph Mallord William Turner, 1775–1851, British, 1805, Line engraving, first published state

Thomas Howard, Earl of Arundel and Surrey, Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Paul Rubens, 1577–1640, Flemish, 1743, Engraving; Proof before inscription, with engraver's name and date only, Sheet: 18 1/2 x 11 15/16in.

Mercury and Argus, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1841, Etching and line engraving, second state on thick, moderately textured, beige wove paper with cream

Classical Scene of Soldier carrying Child with Two Women, 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

Plate 23 (page 41): 'One radiant MARK; the Death bed of the Just', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Battle of the Baltic, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof, touched

Marriage A-La-Mode, Plate V: The Death of the Earl, Simon Francois Ravenet, 1721–1774, French, active in Britain, after William Hogarth, 1697–1764, British, 1745, Engraving, Sheet: 13 7/8 x 17 5/8in. (35.2 x 44.8cm

Adrian Hanneman, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 7/8 x 9 1/4 inches (30.2 x 23.5 cm), Plate: 7 1/8 x 5 1/2 inches (18.1 x 14 cm),

Hon. Leicester Stanhope, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Joshua Reynolds RA, 1723–1792, British, 1789, Stipple engraving and etching on medium, moderately textured,

Defeat of the French Carracks, by the Earl of Warwick, Print made by J. Pass, active 1796–1800, undated, Line engraving on medium, slightly textured, cream wove paper

The Melancholy Prospect of London Bridge South West, April 12th, 1758, unknown artist, after unknown artist, ( T. Jump ), 1758, Engraving, Sheet: 7 1/4 x 12in. (18.4 x 30.5cm

The Complaint and The Consolation: or Night Thoughts, William Blake, 1757–1827, British, ca. 1797, Hand-colored line engraving, Spine: 16 3/4in. (42.5cm) and Sheet: 16 1/2 x 12 7/8in. (41.9 x 32.7cm

Caligula's Palace and Bridge, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1854, Line engraving on medium, slightly textured, cream wove paper

Dr. Johnson, R. Page, active 1816–1825, after unknown artist, undated, Engraving, Sheet: 8 3/4 x 5 3/4in. (22.2 x 14.6cm

The Scene Before Gilbraltar on the Morning of 14th September 1782, William Woollett, 1735–1785, British, And John Emes, 1762–1810, British, after James Jefferys, 1751–1784, British, 1789, Engraving and etching, Plate: 17 3/8 x 26

Venus Sleeping, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Annibale Carracci, 1560–1609, Italian, 1785, Engraving

Billingsgate, George Cooke, 1781–1834, British, after Sir Augustus Wall Callcott, 1779–1844, British, 1828, Engraving, Sheet: 9 1/2 x 6 5/8in. (24.1 x 16.8cm

Horse-racing Set of six: 6. 'Finish'd Horses / Match'em & Trajan Runing at New-market', William Elliot, active 1774, died 1792, British, after Thomas Smith of Derby, ca. 1720–1767, British, 1758, Engraving, Sheet: 15 3/8 x 21 3/8in. (39.1

Crossing the Brook, Print made by unknown artist, nineteenth century, after print by William Richardson, active 1842–1877, British, Formerly attributed to Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, (?),

Back of the Cassina and Part of the Serpentine River of Chiswick House, Print made by unknown artist, eighteenth century, and John Donowell, active 1753–1786, after John Donowell, active 1753–1786, ca. 1753, Engraving, Plate: 10 1/2 x 16

Samuel Johnson, Abel Bowen, 1790–1850, American, after unknown artist, undated, Engraving, Sheet: 9 x 5 1/4in. (22.9 x 13.3cm

A Prospect of the City of London from St. George's Fields in Surry, Benjamin Cole, 1697–1783, British, after unknown artist, 1752, Hand colored engraving

Pl. 4: The Six-Footed Serpent Attacking Agnolo Brunelleschi '...lo! a serpent with six feet/ Springs forth on one, 'Hell; Canto xxv. line 45., William Blake, 1757–1827, British, 1827, Line engraving on medium, slightly textured, cream wove

John Fletcher, frontpiece to Berkenhead's and Beaumont's Comedies and Tragedies, William Marshall, fl. 1617–1649, after unknown artist, (J. Berkenhead), undated, Engraving

The Spanish Pointer, William Woollett, 1735–1785, British, after George Stubbs, 1724–1806, British, 1768, Engraving and etching , third state, Image: 15 3/8 x 20 7/8in. (39 x 53.1cm

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

Queen Philippa Interceding for the Brave citizens of Calais, Print made by John Jones, ca. 1745–1797, British, after Henry Singleton, 1766–1839, British, 1792, Stipple engraving on medium, slightly textured, cream wove paper

Keswick Lake, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on moderately thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 17

An Old Oak, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on thick, slightly textured, beige, wove paper, with beige, chine colle, Sheet: 17 1/8 × 11 3/4

Carisbrook Castle, Charles Westwood, Active 1819–1838, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 7/16 × 14 11/16

Lucas et Cornelius de Wael, Wenceslaus Hollar, 1607–1677, Bohemian, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1646, Stipple engraving, line engraging and etching on medium,

Samuel Johnson with other portraits, Thomas Holloway, 1748–1827, British, after unknown artist, undated, Engraving, Sheet: 7 1/2 x 4 3/4in. (19.1 x 12.1cm

'Cries of London' Plate 9: 'Strawberrys Scarlet Strawberrys', Giovanni Vendramini, 1769–1839, Italian, after Francis Wheatley, 1747–1801, British, 1795, Colored engraving with stipple, DON'T USE: 16 1/4 x 12 1/4in. (41.3 x 31.1cm

Prudence, George Siegmund Facius, 1750–1804, And: Johann G. Facius, 1750–after 1802, German, after Sir Joshua Reynolds RA, 1723–1792, British, 1782, Stipple engraving, Sheet: 18 1/2 x 12in. (47 x 30.5cm

Theatrum Sive Coliseum Romanum, Print made by unknown artist, Published by Antonio Lafreri, 1512–1577, French, 1547 to 1560, Line engraving and etching on medium, slightly textured, cream laid paper, Sheet: 9 1/4 × 14 7/8 inches (23.5 ×

Light Towers of the Heve, vignette for title page, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving (Second State

Henry Boyle, Lord Carleton, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1741, Line engraving on medium, slightly textured, cream laid paper

Dunstanborough Castle, Northumberland, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (touched

Salisbury, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving and etching, 3rd state on moderately thick, slightly textured, cream, wove paper, Sheet: 10 11/16 × 14

At Naples, Print made by Placido Columbani, born ca. 1744, active 1801, Italian, active in Britain, after Placido Columbani, born ca. 1744, active 1801, Italian, active in Britain, Published by Isaac Taylor, 1730–1807, British,

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

Colchester, Essex, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (finished

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