Images at Librifly

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Bolton Abbey, Robert Wallis, 1794–1878, 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 inches

Oliver Cromwell, P.R.O.C., Print made by Jan van de Velde IV, ca. 1620–1686, Dutch, after Robert Walker, British, 1599–1658, British, ca. 1655, Line engraving, stipple engraving, and aquatint on medium, moderately textured, cream

For the Sexes: The Gates of Paradise, Plate 19, 'To The Accuser . . . .' (Bentley 21), Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove paper, Spine: 13

Nemi, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1852, Etching; open etching, and line engraving on medium, slightly textured, cream wove paper with chine-collé,

House of Commons, the Speaker Reprimanding a Person at the Bar, Print made by Henry Melville, active 1826–1841, British, after Thomas Hosmer Shepherd, 1792–1864, British, after 1850, Line engraving on moderately thick, smooth cream wove

Measure... Act V, Scene 2, Jan J. van den Bergh, active 1793–1800, after Henry Singleton, 1766–1839, British, April 20, 1800, Engraving

One of Six Remarkable Views in the Provinces of New York, New Jersey and Pennsylvania from SCENOGRAPHI AMERICANA: A View in Hudson's River of the Entrance of what is called the Topan Sea., Peter P. Benazech, 1767–1794, after Paul Sandby RA,

Launceston, Cornwall, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1827, Line engraving and etching, 2nd state on moderately thick, slightly textured, cream, wove paper, with cream, chine

The Abbey Pool, Print made by John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1844-1867, Line engraving; engraver's proof on medium, slightly textured, cream laid paper with chine-coll

Portsmouth, Hampshire, 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 touched on medium, slightly textured, cream

Young's Night Thoughts, Page 26, 'Measuring His Motions by Revolving Spheres', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

St. John's, Horsbydown, William Wise, Active 1823–1876, British, after George Shepherd, active 1782–1830, 1814, Engraving, Sheet: 14 1/8 x 10 1/2in. (35.9 x 26.7cm

A Maid - Une Pucelle, John Raphael Smith, 1752–1812, British, after John Raphael Smith, 1752–1812, British, 1791, Colored stipple engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 18 7/8 × 14 1/8 inches

The Battle-Array of Carberry-hill Near Edinburgh with the Surrender of Mary Queen of Scots to the Confederate Lords of Scotland, and the Escape of Earl Bothwell, 1567, George Vertue, 1684–1756, British, after Bernard Lens III, 1682–1740,

The Plain of Troy, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Etching and engraving, third state on moderately thick, slightly textured, beige, wove paper, Sheet: 11 1/8

A Plan of Part of the Ancient City of Westminster, from College Street to Whitehall, and from the Thames to St. James's Park, in which are laid down all the New Streets that have been built & other alterations made since the building of

Ramsgate, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1814 to 1826, Etching and line engraving; engraver's proof on medium, slightly textured, cream wove paper, Sheet: 8 7/8

Fair on the Thames, February 1814, George Cooke, 1781–1834, British, after Luke Clennell, 1781–1840, British, 1814, Engraving

Near Chelsea Bridge, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1797, Engraving, Sheet: 5 x 5 1/8in. (12.7 x 13cm

The Garden Front at Kenwood, William Birch, 1755–1834, British, after William Birch, 1755–1834, British, 1789, Engraving

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

Judocus de Momper, 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, stipple engraving, etching on medium, slightly

King on His Throne in the House of Lords, James Fittler, 1758–1835, British, after Edward Pugh, 1763–1813, British, ca. 1820, Engraving, Sheet: 6 9/16 x 8 1/16in. (16.6 x 20.4cm

Fowl Body, Lateral View (Probably Prepared for Transfer to the Plate for Engraving of Table XV), George Stubbs, 1724–1806, British, 1795 to 1806, Graphite; verso: graphite, and pen with red ink on thin, slightly textured, cream wove paper,

Malmesbury Abbey, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1829, Line engraving, 3rd state on moderately thick, moderately textured, cream, wove paper, Sheet: 10 3/4 × 14 7/8 inches

Young's Night Thoughts, Page 10, 'Disease invades the chastest temperence', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Le Moment de la Reflexion, Print made by Charles White, active 1784, after Lavinia Spencer, 1762–1831, British, 1784, Stipple engraving on moderately thick, moderately textured, cream laid paper, Sheet: 12 × 12 15/16 inches (30.5 × 32.9

Boit. Baker., Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 1/4 x 8 5/8 inches (28.6 x 21.9 cm), Plate: 7 3/8 x 5 1/2 inches (18.7 x 14 cm), and

The Delights of Islington, Charles Bretherton, ca. 1760–1783, British, after Henry William Bunbury, 1750–1811, British, 1772, Engraving

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

The Balcony, Print made by James Charles Armytage, 1802–1897, British, after William Etty, 1787–1849, British, Printed by George Virtue, ca. 1820–1908, British, between 1835 and 1854, Etching and line engraving on thick, slightly

Virtuous Love, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Hamilton, 1751–1801, British, Published by Peltro W. Tomkins, 1760–1840, British, 1793, Stipple engraving and

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

St. Paul's School, Bartholomew Howlett, 1767–1827, British, after unknown artist, ( John Baker ), 1825, Hand colored engraving

Ashkoko, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving, hand colored

Entrance of the House of Lords with the Office of Ordnance, Print made by unknown artist, (A Smith), after Samuel Wale RA, 1721–1786, British, Print formerly attributed to unknown artist, undated, Etching and line engraving on smooth,

The Right Honourable John Thurloe Esqr., George Vertue, 1684–1756, British, after ? William Dobson, 1611–1646, British, 1741, Line engraving, stipple engraving on moderately thick, moderately textured, cream, laid paper, Sheet: 13

Ad Metellae Echo, Print made by unknown artist, sixteenth century, Published by Giovanni Orlandi, active 1590–1640, Italian, Published by Antonio Lafreri, 1512–1577, French, 1549, Line engraving on medium, slightly textured, cream

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

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

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

Shooting, Plate III, William Woollett, 1735–1785, British, after George Stubbs, 1724–1806, British, 1770, Engraving with etching, Sheet: 17 1/2 x 21 15/16in. (44.4 x 55.7cm) and Image: 15 3/8 x 20 13/16in. (39.1 x 52.9cm

Young's Night Thoughts, Page 43, 'Night the Third, Narcissa.', 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

Dom Carolus de Columna a Cons. Stat. Prim. a Cubic. Reg. Matis. 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;

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

View of Camberwell from the Grove, unknown artist, eighteenth century, after unknown artist, undated, Engraving, Sheet: 6 1/8 x 6 3/4in. (15.6 x 17.1cm

The Southwest Prospect of St. Katherine Cree church, William Henry Toms, ca. 1700–ca. 1750, British, after Robert West, Active 1744–1770, Irish, 1736, Engraving, Sheet: 11 1/8 x 12 1/2in. (28.3 x 31.8cm

Fairburn's Plan of the Proposed Wet-Docks and Cut, from New Gravel Lane to Blackwall, Print made by John Fairburn, active 19th century, British, Published by John Fairburn, active 19th century, British, 1796, Etching and line engraving,

Honorable Sylvester Douglas, 1st Baron Glenbervie of Kincardine, Edward Harding, 1755–1840, British, after Sir Thomas Lawrence, 1769–1830, British, 1794, Stipple engraving on medium, slightly textured, cream, wove paper, Sheet: 12

King Richard the Third: Act IV, Scene III (The Murder of the Princes in the Tower), Print made by Francis Legat, 1755–1809, British, after James Northcote, 1746–1831, British, 1790, Line engraving on medium, slightly textured, cream

Venus Attired by the Graces, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), 1785, Etching and stipple engraving on

The Soldier's Wife, William S. Leney, 1769–1831, British, after Emma Crew, active 1783, British, 1793, Colored stipple engraving, Sheet: 9 5/8 x 7 5/8in. (24.4 x 19.4cm

Knives, Scissars, and Razors to Grind, Print made by Giovanni Vendramini, 1769–1839, Italian, after Francis Wheatley, 1747–1801, British, 1795, Stipple engraving, printed in color, Plate: 16 1/4 x 12 3/4in. (41.3 x 32.4cm), figure

The Talbot Inn, Borough High Street, Southwark, unknown artist, after unknown artist, 1812, Engraving

Nymphs and Diana Bathing, 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

The South Prospect of St. Martin's Church, George Vertue, 1684–1756, British, after George Vertue, 1684–1756, British, 1720, Engraving, Sheet: 9 1/2 x 12 15/16in. (24.1 x 32.9cm

The North East View of Eltham Palace in the County of Kent, Nathaniel Buck, active 1727–1753, after Samuel Buck, 1696–1779, British, 1735, Engraving

A Prospect of the Palace of Chantilli, Nathaniel Parr, active 1742–1751, British, after unknown artist, undated, Hand-colored engraving on laid paper, Sheet: 60 1/2in. (153.7cm), architectural subject, carriages, gardens, horses

Henry VIII, Attributed to Renold Elstrack, 1570–1625(?), British, Published by Henry Balaam, active 1612–1616, British, 1618 or 1628, Line engraving on medium, slightly textured, cream laid paper, Sheet: 10 9/16 x 7 1/16 inches (26.9 x

The Glorious Defeat of the French Fleet under the Command of Marshal Conflans, off Belle-Isle, on the 20th of November, 1759, ..., Print made by Peter P. Benazech, 1767–1794, after Francis Swaine, 1730–1782, British, Published by Robert

A South View of Westminster, from the Surrey Side of theThames, Samuel Rawle, 1771–1860, British, after Robert Freebairn, 1764–1808, British, 1808, Engraving

Speculum Romanae Magnificentiae, Antonio Lafreri, 1512–1577, French, Published by Nicolaus van Aelst, ca. 1527–1613, Flemish, 1546-1590, Line engraving on medium, slightly textured, cream laid paper

Southwark Fair, William Hogarth, 1697–1764, British, 1733, Engraving, Sheet: 18 1/4 × 24 3/4 inches (46.4 × 62.9 cm), Plate: 14 3/8 × 18 5/8 inches (36.5 × 47.3 cm), and Image: 13 1/2 × 17 1/4 inches (34.3 × 43.8 cm

The Judgement of Paris, 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

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

The Mansion House, John Maurer, active 1713–1761, 1750, Engraving

Examples of Ceremonial Dress of Soldiers, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

The Suspension Bridge at Chelsea, Thomas Abiel Prior, 1809–1886, British, after Thomas Abiel Prior, 1809–1886, British, 1852, Engraving, Sheet: 8 5/8 x 17in. (21.9 x 43.2cm

The Deserted Nest, Print made by Alfred W. Cooper, active 1850–1901, British, after Alfred W. Cooper, active 1850–1901, British, undated, Wood-engraving with hand coloring on moderately thick, slightly textured, cream wove paper,

Jaffa, the Antient Joppa, from the Sea, Print made by Edward Francis Finden, 1791–1857, British, 1836, Etching and line engraving on medium, slightly textured, cream wove paper

Jane Seymour Queen of Henry VIII, Print made by Jacobus Houbraken, 1698–1780, Dutch, 1746, Line engraving on medium, slightly textured, cream laid paper

Kelso, Print made by Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, second state on medium, slightly textured, cream wove paper with chine-coll

Corinth (Cenchrea), Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Brignall Church, Samuel Rawle, 1771–1860, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Etching and line engraving on medium, slightly textured, cream, wove paper, Sheet: 11 × 15 1/4 inches (27.9 × 38.7 cm)

The First Stage of Cruelty: First, Children Torturing Animals, William Hogarth, 1697–1764, British, 1751, Engraving, Sheet: 15 3/8 x 12 3/4in. (39.1 x 32.4cm

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

As You Like It, Act IV, Orlando and Oliver, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), And Samuel Middiman, ca. 1750–1831, British, after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in

King on His Throne in the House of Lords, James Fittler, 1758–1835, British, after Edward Pugh, 1763–1813, British, ca. 1820, Engraving, Sheet: 6 9/16 x 8 1/16in. (16.6 x 20.4cm

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

Saumur, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Etching and line engraving on medium, slightly textured, cream wove paper with cream chine collé, Sheet: 11

Hanover Terrace, Regent's Park, Print made by George Cooke, 1781–1834, British, after William Harvey, 1796–1866, British, Published by Longman, active 1804–1914, British, 1827, Etching and line engraving on medium, slightly

Sir Kenelm Digby, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), 1748, Line engraving, stipple engraving, and etching on

Mrs. Siddons, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Nathaniel Hone RA, 1718–1784, Irish, Published by Horace Hone, Dublin, 1756–1825, British, 1785, Stipple engraving and

Antony and Cleopatra, Act III, Scene IX, The Palace in Alexandria . . ., And Johann G. Facius, 1750–after 1802, German, after Henry Tresham, 1751–1814, British, George Siegmund Facius, 1750–1804, 1803, Engraving, Sheet: 17 5/8 x

Christ's Hospital, William Henry Toms, ca. 1700–ca. 1750, British, after unknown artist, c. 1740, Engraving, Sheet: 8 5/8 x 13 1/8in. (21.9 x 33.3cm

A View of the Lake etc. at West Wycomb, William Woollett, 1735–1785, British, 1757, Engraving on thick, moderately textured, cream, laid paper, Sheet: 17 7/8 × 23 11/16 inches (45.4 × 60.2 cm), Plate: 14 1/2 × 20 3/4 inches (36.8 ×

The S. W. Prospect of the Church of St. Leonard, Shoreditch, William Henry Toms, ca. 1700–ca. 1750, British, after George Dance RA, 1741–1825, British, 1742, Engraving, Sheet: 29 x 20 1/2in. (73.7 x 52.1cm

Carisbrook Castle, Isle of Wight, Charles Westwood, Active 1819–1838, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, first published state

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), 1778, Line engraving

Studies for the Instruction of Painters, two suites. Rome, Print made by Francesco Curti, 1610–1690, Italian, after Giovanni Guercino, 1591–1666, Italian, Published by Giovanni Domenico de Rossi, active 17th century, Italian, ca. 1633,

Macbeth and the Witches, William Woollett, 1735–1785, British, after Franco Zuccarelli RA, 1702–1788, Italian, 1770, Engraving, castle, flag, horses (animals), lightning, literary theme, Macbeth, Act IV, Scene I, Macbeth, play

Old House...at Newington Green, Middlesex, unknown artist, after unknown artist, 1811, Hand colored engraving

John Milton, Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), after Cornelius Johnson, 1593–1661, British, 1760, Engraving, Sheet: 8 7/8 x 12 1/4in. (22.5 x 31.1cm

Man sitting Crosslegged, Profile, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Leonardo da Vinci, 1452–1519, Italian, 1796, Engraving

Lillebourne, Chateau and Tower, Thomas Jeavons, ca. 1800–1867, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, engraver's proof

Abingdon from the Thames Navigation, William Byrne, 1743–1805, British, after Joseph Mallord William Turner, 1775–1851, British, 1803-1810, Line engraving, published state (India

Boy Tying a Girl's Shoe, 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

Sir John Thomas Duckworth, 1st Baronet of Topsham, Giovanni Vendramini, 1769–1839, Italian, after Sir William Beechey, 1753–1839, British, 1809, Stipple engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 14

Arab of Loheia, Tribe Beni Koreish, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving

As You Like It: Act II, Scene VII: The Seven Ages Man (second age), John Ogborne the Elder, 1755–1795, British, after Robert Smirke, 1752–1845, British, 1801-1803, Engraving

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