Images at Librifly

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Stirling, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving

The Virgin and Child, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1770, Stipple engraving

William Shakespeare, George Vertue, 1684–1756, British, after unknown artist, 1719, Engraving on medium, slightly textured, cream, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper, Mount: 24 × 17 1/4

Our Saviour healing the sick in the Temple, Print made by Charles Heath, 1785–1848, British, after Benjamin West, 1738–1820, American, active in Britain (from 1763), 1812, Engraving, Plate: 22 1/2 x 30 1/2 inches (57.2 x 77.5 cm

Robert Carr, Earl of Somerset, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1749, Line engraving on medium, slightly textured, cream wove paper

John Milton, George Vertue, 1684–1756, British, no date, Engraving, Sheet: 3 3/4 x 6 1/2in. (9.5 x 16.5cm

Round and Sound, Five Pence a Pound, Duke Cherries, Print made by Anthony Cardon, 1772–1813, Flemish, after Francis Wheatley, 1747–1801, British, 1795, Stipple engraving, printed in color, Plate: 16 1/8 x 12 5/8in. (41 x 32.1cm),

St. Cloud, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, first published state

Morning, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, (?inscribed in graphite on back), 1751–1801, British, undated, Stipple engraving and etching, hand colored on

A Man's Fate, Front View, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Leonardo da Vinci, 1452–1519, Italian, 1796, Engraving

St. Lorenz Kirche, Nurnberg, Print made by William Woolnoth, active 1806–1830, British, after Robert Batty, 1789–1848, British, undated, Line engraving on medium, slightly textured, cream wove paper

D. Deodatus Del Mont Antu., Lucas Vorsterman, 1595–1675, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Etching and stipple engraving on medium, slightly textured,

Oliver plucks up a spirit, Print made by George Cruikshank, 1792–1878, British, 1837, Line engraving on medium, slightly textured, cream wove paper

Lieu't Gover'r Gall-Stone, inspired by Alecto; or The Birth of Minerva, James Gillray, 1757–1815, British, 1790, Etching, aquatint and stipple engraving, proof before letters, angels, books, candle, demons, desk, dog (animal), figure

John Wyck and Thomas Wyck, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream laid paper, Sheet: 8 7/8 x 7 inches (22.5 x 17.8 cm), Plate: 7 3/8 x 5 1/2 inches (18.7 x 14

A View of the Tomb of the Emperor Sher Shah at Sasseram in Bahar, Thomas Morris, active 1771–1794, after William Hodges, 1744–1797, British, 1786, Engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 22 5/16 ×

Lulworth Cove, Dorset, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1811-1812, Line engraving etching and white gouache, engraver's proof (touched) on modertely thick, slightly

Milan, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving

New Church at Paddington, James Peller Malcolm, 1767–1815, American, after unknown artist, 1793, Engraving

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

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

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

The Surprise of Peregrine Pickle, by a visit from a Lady of Quality, who comes to relieve his distresses, Charles Warren, 1767–1823, British, after Richard Corbould, 1757–1831, British, 1798, Engraving

The Death of Abercrombie, Print made by Edward Mitchell, active 1805–1816, after John Northcote, 1805, Line engraving on medium, slightly textured, cream wove paper, Sheet: 22 5/8 × 24 1/4 inches (57.5 × 61.6 cm) and Image: 19 3/8 × 22

Joram, 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

Abbeville, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, first published state

West Prospect of ...Great Yarmouth, John Harris, active 1686–1740, after unknown artist, ( J. Corbridge ), undated, Line engraving, Sheet: 27 1/4 x 19in. (69.2 x 48.3cm

Tours - looking backwards, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, engraver's proof on thick, moderately textured, cream, wove paper, Sheet: 8 × 10 3/4 inches

Temple of Minerva, Cape Colonna, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Etching and engraving, Engraver's proof on moderately thick, slightly textured, beige,

For Children. The Gates of Paradise, Plate 2, Title Page, Print made by William Blake, 1757–1827, British, 1793, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 5 1/2 inches (14 cm), Sheet: 5

Pamela: Mr. and Mrs. Andrews imploring a blessing for their first-born daughter, Pamela. Vide, vol. 4 Letter 21, page 108, Samuel Noble, 1779–1853, British, after unknown artist, ( R. Courbould ), 1803, Engraving

Interior of Crosby Hall (Looking South), William Wise, Active 1823–1876, British, after Frederick Nash, 1782–1856, British, 1816, Engraving, Sheet: 11 3/8 x 9 1/8in. (28.9 x 23.2cm

Dunfermline, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1836, Etching and engraving, first published state

Falmouth, Cornwall, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1815, Etching and engraving on moderately thick, slightly textured, cream, wove paper, Sheet: 11 7/16 × 17 1/16

St. Gile's, Cripplegate, W. Preston, active 1811, And William Pearson, 1772–1849, British, after William Pearson, 1772–1849, British, 1810, Engraving, Sheet: 10 1/2 x 9 3/4in. (26.7 x 24.8cm

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

John Thurloe, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Samuel Cooper, 1609–1672, British, 1738, Line engraving on medium, slightly textured, cream laid paper

Mortlack, Thomas Preist, active 1740-1750, British, after Thomas Preist, active 1740-1750, British, 1738, Engraving, Sheet: 9 3/4 x 14 1/2in. (24.8 x 36.8cm

Lady Hamilton as The Sempstress, Print made by Thomas Cheesman, 1760–1834/35, British, after George Romney, 1734–1802, British, Published by John Boydell, 1720–1804, British, and Josiah Boydell, 1752–1817, British, 1787, Stipple

The Laterne of St. Cloud, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

The Right Honorable Harriet Viscountess Bulkeley, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Cosway, 1742–1821, British, 1785, Engraving, Sheet: 11 1/16 x 8 7/16 inches (28.1 x 21.5 cm

Gustavus Adolphus D.G.Rex Svec.Goth; et Vand, Magnus Princeps Finlandiæ Dux, 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

The Cape of Good Hope, 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,

The Church of St. Helens and Leather-Sellers Hall with the Cornhill Military Association, Charles Grignion, 1717–1810, British, after Edward Dayes, 1763–1804, British, 1799, Engraving

The Four Times of Day, Plate I: Morning, Print made by William Hogarth, 1697–1764, British, 1738, Engraving, Sheet: 18 x 14 7/8in. (45.7 x 37.8cm), cityscape, morning, satire, winter

Salisbury, Wiltshire, William Radclyffe, 1780–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

Melun, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving on Not signed

The Orphan, Print made by Samuel Cousins, 1801–1887, British, after Henry Liverseege, 1803–1832, British, Published by Moon, Boys & Graves, ca. 1812–1892, British, and John Clowes Grundy, 1806–1867, British, 1834, Mezzotint,

Eddystone Lighthouse, Hamlet Winstanley, 1698–1756, British, 1703, Engraving, Sheet: 39 1/2 x 28in. (100.3 x 71.1cm

Temple Stairs, Edward Harding, 1755–1840, British, after Charles Tomkins, 1757–1823, British, 1801, Engraving

Queen Charlotte, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Richard Livesay, 1753–1826, British, 1794, Stipple engraving and etching in black ink on medium, slightly textured, cream

Wreck off Hastings, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving, proof

Alfred in the Danish Camp, Print made by Anker Smith, 1759–1819, British, after Robert Smirke, 1752–1845, British, Published by Nuttall, Fisher & Dixon, active 1818, British, 1816, Etching and line engraving on thin, slightly

Durham Cathedral, from the Nave, Print made by Wilson Joseph Lowry, 1803–1879, British, after Thomas Allom, 1804–1872, British, 1834, Line engraving on medium, slightly textured, cream wove paper

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

The Battle of the Nile, Print made by William Le Petit, early 1800s, after George Arnald, 1763–1841, British, Published by Lackington & Co., active 1746–1840s, British, 1831, Line engraving on medium, slightly textured, cream wove

Joseph Baretti, James Hardy, active 1770s, after Sir Joshua Reynolds RA, 1723–1792, British, 1794, Stipple engraving on medium, slightly textured, cream, wove paper, Sheet: 11 3/8 × 8 3/4 inches (28.9 × 22.2 cm), Plate: 10 5/8 × 7

Portrait of a Woman, Thomas Watson, 1743–1781, British, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1779, Engraving, Sheet: 19 5/8 × 16 3/8 inches (49.8 × 41.6 cm), Plate: 17 3/4 × 12 15/16 inches (45.1 ×

View of the Feathers Tavern, Cupers-Bridge, Lambeth, Bartholomew Howlett, 1767–1827, British, after unknown artist, ( De Corte ), 1825, Engraving

Hamburg, Print made by Samuel Davenport, 1783–1867, British, undated, Line engraving on medium, slightly textured, cream wove paper

Henry IV, Part II: Act IV, The Palace at Westminster, Robert Thew, 1758–1802, British, after Josiah Boydell, 1752–1817, British, 1803, Engraving, Sheet: 14 3/4 x 20 1/16in. (37.5 x 51cm

The Overflowing of the Pitt, unknown artist, after Samuel Hieronymus Grimm, 1733–1794, Swiss, 1771, engraving, Sheet: 15 5/8 x 10 11/16in. (39.7 x 27.1cm), DON'T USE: 15 5/8in. (39.7cm), DON'T USE: 10 11/16in. (27.1cm), and Plate: 14 x 10

Lambeth Palace from the Garden, John Greig, active 1800–1853, British, after C. John M. Whichelo, 1784–1865, British, 1804, Engraving

Franciscus Franck Junior, Pictor Humanarum Figurarum in Paruis Antuerpiæ, William Hondius, c.1597–c.1660, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Etching and

Warwick Castle, Warwickshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof, architectural subject, bridge (built work), castle, landscape,

View of Beaufort House and Chelsea 1699, Johannes Kip, 1653–1722, Dutch, after Leonard Knyff, 1650–1721, Dutch, active in Britain (by 1681), 1699, Engraving, Sheet: 14 1/8 x 19 3/8in. (35.9 x 49.2cm

North Side of the Strand, Between Exeter 'Change and the May Pole, on July 7, 1713, Print made by unknown artist, 1829, Line engraving on medium, slightly textured, cream wove paper

Untitled: Arabian Knight, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, 1830, Etching and line engraving on chine collé laid down on wove paper., Image: 3 3/4 x 3 1/8in. (9.5 x 7.9cm), Sheet: 17 x 12in.

Lady Elizabeth Foster, Print made by Caroline Watson, 1760–1814, British, after John Downman, 1750–1824, British, 1788, Stipple engraving on moderately thick, moderately textured, cream laid paper, Sheet: 13 1/8 × 10 inches (33.3 ×

The Valley in Which the Children of Israel, Were Encamped, Mount Sinai in the Distance, James Baylis Allen, 1803–1876, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof

King Edward VI presenting the Charter for Bridewell to Sir George Barnes, George Vertue, 1684–1756, British, after Hans Holbein the Younger, ca. 1497–1543, German, active in Switzerland and England, 1750, Stipple engraving and line

Ashestiel (Vignette), Print made by John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on medium, slightly textured, cream wove paper with chine-coll

Samuel Johnson, Thomas Trotter, ca. 1750–1803, British, after unknown artist, undated, Engraving, Sheet: 9 x 5in. (22.9 x 12.7cm

Wanstead House in Essex, Victor Marie Picot, 1744–1805, French, after unknown artist, ( Barron ), 1775, Engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 18 × 24 5/16 inches (45.7 × 61.8 cm), Plate: 15 3/4

West Window of the Chapel, New College Oxford, Angel Contemplating the Mystery of the Cross, George Siegmund Facius, 1750–1804, after Sir Joshua Reynolds RA, 1723–1792, British, 1785, Stipple engraving on moderately thick, moderately

Young's Night Thoughts, Page 57, 'Trembling each gulp, lest death should snatch the bowl', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream

At Sheerness, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after T. & I. Milton, 18th century, 1755, Color engraving

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

Theodorus Rombouts, Pictor Humanarum Figurarum Antuerpiæ, 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 and stipple

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

Joannes Baptista Barbé, Calcographus Antuerpiæ, 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 medium, slightly

St. Mary le Strand, Joseph Skelton, active 1820–1850, after John Coney, 1786–1833, British, undated, Engraving on slightly textured, medium, white wove paper, Sheet: 9 1/8 × 6 5/8 inches (23.2 × 16.8 cm) and Mount: 10 1/4 × 7 1/8

Ticket to Westminster Abbey, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Robert Smirke, 1752–1845, British, before 1791, Etching and line engraving on thick, moderately textured,

The Return Home, Print made by Edward Calvert, 1799–1883, British, 1830, Wood-engraving on moderately thick, smooth, beige wove paper, Sheet: 3 11/16 x 6 1/16 inches (9.4 x 15.4 cm) and Image: 1 5/8 x 3 inches (4.1 x 7.6 cm), animal art,

A North East View of Westminster with the Bridge, taken from Somerset Garden, John S. Muller, ca. 1715–1792, German, active in Britain, after Canaletto, 1697–1768, Venetian, active in Britain (1746–55), 1794, Engraving, Sheet: 12

South East View of tLand-Guard Fort, in Suffolk, Thomas Major, 1714–1799, British, 1754, Line engraving on thick, rough, cream, wove paper, Sheet: 15 5/8 × 23 1/2 inches (39.7 × 59.7 cm) and Image: 13 9/16 × 23 1/4 inches (34.4 × 59.1

Anne of Denmark, Queen of King James I, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Cornelius Johnson, 1593–1661, British, ca. 1745, Line engraving on medium, slightly textured, cream laid paper

Pantheum Romanum nunc Mariae Cognomento, Print made by Nicolas Beatrizet, 1507 or 1515–ca. 1565, French, Published by Antonio Lafreri, 1512–1577, French, 1549, Etching and line engraving on medium, slightly textured, cream laid paper,

Painting on the South Side Severts Tomb, Jacob C. Schnebbelie, 1760–1792, British, after Jacob C. Schnebbelie, 1760–1792, British, 1791, Hand colored engraving

The Savoy Hospital in the Strand the Chapel of the Hospital, George Vertue, 1684–1756, British, after George Vertue, 1684–1756, British, 1763, Engraving

Plate 19 (page 33): 'Like that, the dial speaks; and points to thee', William Blake, 1757–1827, British, Attributed to Edward Young, 1683–1765, British, 1797, Engraving

Ticket for the Benefit of Madame Banti, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Edward Francis Burney, 1760–1848, British, 1795, Etching and line engraving on moderately thick, slightly

St. Paul's School, Samuel Rawle, 1771–1860, British, after Samuel Rawle, 1771–1860, British, 1807, Engraving

Cæsar Alexander Scaglia Abbas Staphardæ et Mandanices, 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 and stipple

The Bay of Baise, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

Guild Hall in King Street, Cheapside, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

Jane of Flanders, Countess of Mountford assembling the Inhabitants of Rennes, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Francis Rigaud, 1742–1810, French, active in Britain (from 1771), 1789,

Magdalen Hospital, Print made by George Quinton, born 1779, British, after T. J. Duche, undated, Stipple engraving with etching, Sheet: 10 × 13 3/4 inches (25.4 × 34.9 cm), genre subject

Powis Castle, Montgomery, James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

A Garden, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving on moderately thick, slighlty textured, beige, wove paper, with gray chine colle, Sheet: 17 1/8 × 11 7/8

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