Images at Librifly

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Confluence of the Seine and Marne, James Charles Armytage, 1802–1897, British, after Joseph Mallord William Turner, 1775–1851, British, 1835, Line engraving, engraver's proof

Louis Laguerre, Bernard Lens and Charles Jervas, Alexander Bannerman, ca. 1730–1780, after unknown artist, Between 1750 and 1775, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 7/8 x 9 1/4 inches (30.2 x 23.5 cm),

Sir Robert Harley, George Vertue, 1684–1756, British, after unknown artist, ( ? Oliver ), 1737, Stipple and line engraving on moderately thick, slightly textured, beige, laid paper, Sheet: 12 7/8 × 8 1/8 inches (32.7 × 20.6 cm) and

And the Child Grew, and She Brought Him unto Pharaohs Daughter, and He Became Her Son, and Called his name Moses, William Hogarth, 1697–1764, British, And Luke Sullivan, 1705–1771, British, after William Hogarth, 1697–1764, British,

Demolition of Old London Bridge, Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1832, Engraving, Sheet: 12 7/8 x 16 5/8in. (32.7 x 42.2cm

Henry Prince of Wales, Son of King James I, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Isaac Oliver, ca. 1565–1617, French, active in Britain, 1738, Line engraving on medium, slightly textured, cream wove paper

Humours of an Election Entertainment, Thomas Cook, 1744–1818, British, after William Hogarth, 1697–1764, British, 1809, Engraving

Ceremony of Laying the First Stone of the New Royal Exchange, Henry Melville, active 1826–1841, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1842, Engraving

Prince William Frederick of Gloucester, Print made by Caroline Watson, 1760–1814, British, after Sir Joshua Reynolds RA, 1723–1792, British, Published by John Boydell, 1720–1804, British, 1784, Aquatint and engraving on moderately

The Lodge and Garden from the Great Lake, Francois Vivares, 1709–1780, French, after Thomas Sandby RA, 1721–1798, British, 1772, Hand colored engraving on thick, rough, cream, laid paper, Sheet: 16 5/8 × 25 1/4 inches (42.2 × 64.1

St. Dunstan's in the West, Fleet Street, Thomas Turnbull, active 1839–1842, after Robert William Billings, 1813–1874, British, 1838, Engraving, Sheet: 7 1/2 x 4 3/4in. (19.1 x 12.1cm

Fete Champetre, 9 June 1774 (Inside of the Supper-Room), James Caldwall, 1739–1819, British, after Charles Grignion, 1754–1804, British, 1780, Engraving, Sheet: 17 1/2 x 22 3/4in. (44.5 x 57.8cm), dinner, food, meal

Henri: Chnchele Ffundator (sic), Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Taylor, 1739–1838, British, 1772, Engraving

A View of the Old Palace at Hampton Court from the Thames, Outer Western Suburb, James Basire, 1769–1822, British, after unknown artist, 1804, Engraving

Buckingham House in St. James's Park from the Side of the Canal near Rosamond's Pond, unknown artist, eighteenth century, after unknown artist, undated, Hand colored engraving

The Brave Captain Tyrrill in the Buckingham of 66 Guns and 472 Men, Defeating the Florissant, Aigrette & Atalante, Three French Ships of War, 3rd November, 1758, Print made by Peter P. Benazech, 1767–1794, after Francis Swaine,

Mayburgh (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

St. Mary le Strand House, Old Kent Road, unknown artist, nineteenth century, after unknown artist, undated, Engraving, Sheet: 4 3/4 x 5 1/8in. (12.1 x 13cm

St. Sophia, Constantinople, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof

Heidelberg, Print made by William Deane Taylor, 1794–1857, after William Tombleson, ca.1795–1835, British, 1845, Etching and line engraving on medium, slightly textured, cream wove paper

William Robertson, John Hall, 1739–1797, British, after Sir Joshua Reynolds RA, 1723–1792, British, undated, Engraving on medium, slightly textured, beige, laid paper, Sheet: 7 3/4 × 5 1/4 inches (19.7 × 13.3 cm) and Image: 7 × 4

The Battle Array of Carberry Hill Near Edinburgh with the Surrender of Mary Queen of Scots, after George Vertue, 1684–1756, British, after unknown artist, 1738, Stipple engraving, line engraving, and etching on moderately thick, moderately

Ancient Tower at Canonbury, unknown artist, ( John Hawksmith ), after Frederick W. L. Stockdale, active 1803–1848, 1811, Engraving, Sheet: 11 1/4 x 8 5/16in. (28.6 x 21.1cm

Plate 11, The Idle 'Prentice Executed at Tyburn, Print made by William Hogarth, 1697–1764, British, After William Hogarth, 1697–1764, British, 1747, Etching with line engraving, Sheet: 10 3/4 × 15 7/8 inches (27.3 × 40.3 cm

The Herdsman, Print made by James Baylis Allen, 1803–1876, British, Published by Virtue, active 1820s–1908, British, 1859, Line engraving on medium, slightly textured, cream wove paper

Hamlet in Scotland, Print made by Robert Dighton, 1752–1814, British, after Robert Dighton, 1752–1814, British, Published by Robert Dighton, 1752–1814, British, 1794, Etching and stipple engraving, hand-colored on moderately thick,

Sweet China Oranges, Sweet China, Print made by Luigi Schiavonetti, 1765–1810, Italian, after Francis Wheatley, 1747–1801, British, 1794, Stipple engraving, printed in color, Plate: 16 1/4 x 13 3/4in. (41.3 x 34.9cm

Galazia Ovata / Galaxia à Feuilles Ovales, Plate 246 from Les Liliacées, volume 5, Paris, 1802-1816, Pierre-Joseph Redouté, 1759–1840, French of Flemish birth, undated, Color-printed stipple engraving with hand coloring on medium,

Entrance to Hyde Park from Park Lane, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1807, Engraving

Dr. Johnson, William Holl, 1807–1871, British, after unknown artist, undated, Engraving, Sheet: 10 1/2 x 7 1/2in. (26.7 x 19.1cm

Book of Job, Plate 21, Job and His Family Restored to Prosperity, William Blake, 1757–1827, British, 1825, Line engraving on medium, slightly textured, cream wove paper, Sheet: 15 1/4 × 10 7/8 inches (38.7 × 27.6 cm), Plate: 8 1/2 × 6

The Grandmother with her Grandchildren, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on thick, slightly textured, cream card mounted on moderately

James Boswell in the Dress of a Corsican Chief, Print made by J. Miller, active 1769–1825, British, after Samuel Wale RA, 1721–1786, British, 1769, Line engraving and stipple on Laid paper, Sheet: 7 1/4 x 4 1/4 inches (18.4 x 10.8 cm),

Mary Isabella, Duchess of Rutland, Print made by John Keyse Sherwin, c.1751–1790, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1791, Line engraving (only state) on thich, rough, cream, laid paper, Sheet: 23 3/4 × 17

Thomas Howard, Duke of Norfolk, Jacobus Houbraken, 1698–1780, Dutch, after Antonis Mor, 1517–1577, Flemish, 1735, Engraving; proof before inscription, with engraver's name and date only, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm),

Guildhall, Guildhall Chapel and Church in 1720, unknown artist, after unknown artist, 1720, Engraving

Landscape with Cows Standing in a Ford, Cottage Beyond, James Mason, 1710–1783, British, after George Lambert, 1700–1765, British, 1757, Engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 17 5/16 × 21 3/4

Beauty, 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

Temple of Minerva, Cape Colonna, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, ca. 1832, Etching and engraving on thick, moderately textured, beige, vove paper, with gray chine

St. Pierre's Cottage, 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 3/16

The Inside View of the Royal Exchange at London, Thomas Bowles, ca. 1712–died 1753, British, after Thomas Bowles, ca. 1712–died 1753, British, ca. 1750, Hand colored engraving

Ludlow Castle, Shropshire, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof

Gate of Calais, O the Roast Beef of Old England, Print made by William Radclyffe, 1780–1855, British, after William Hogarth, 1697–1764, British, Published by John Tallis & Co, active 1838–1840, British, 1833, Etching and line

Clytie, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Annibale Carracci, 1560–1609, Italian, 1772, Engraving

At the Villa Borghese at Rome, 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,

St. James's Park, Francis David Soiron, Born 1764, after George Morland, 1763–1804, British, 1790, Stipple engraving on moderately thick, moderately textured, cream, wove paper, Sheet: 19 1/16 × 22 inches (48.4 × 55.9 cm), Plate: 18

Sleeping Boy, John Summerfield, active 1817?, after Sir Joshua Reynolds RA, 1723–1792, British, 1812, Line gnraving and stiplle engraving on thick, moderately textured, cream, wove paper, Sheet: 12 7/8 × 16 5/16 inches (32.7 × 41.4

Richmond, Yorkshire, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1827-1838, Line engraving, engraver's proof (touched

Partial View of the West Front of St. Pauls, Thomas Morris, active 1771–1794, after William Marlow, 1740–1813, British, 1792, Engraving, Sheet: 22 1/4 x 17in. (56.5 x 43.2cm

Portooken Ward, Benjamin Cole, 1697–1783, British, after unknown artist, 1755, Engraving

Contemplation, Caroline Watson, 1760–1814, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 13 15/16 × 11 7/16 inches (35.4 × 29.1 cm) and

Cephalus and Procris, Print made by Thomas Burke, 1749–1815, British, after Giovanni Battista Cipriani RA, 1727–1785, Italian, active in Britain (1755-85), Published by George Durand, active 1780–1785, British, 1783, Stipple

Thomas Otway, Jacobus Houbraken, 1698–1780, Dutch, after Mary Beale, 1633–1699, British, 1741-1742, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

Santa Maria della Spina, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on moderately thick, moderately textured, beige, wove paper,

Byron's Dream, James T. Willmore, 1800–1863, British, after Sir Charles Lock Eastlake, 1793–1865, British, active in Italy (1816–30), 1833, Line engraving on thick, moderately thick, cream, wove paper, Sheet: 21 3/8 × 27 inches

A Sketch of the Monument Erected in the Church of East Dereham in Norfolk in Memory of William Cowper Esq., Print made by William Blake, 1757–1827, British, after John Flaxman, 1755–1826, British, Text by William Hayley, 1745–1820,

Warwick Castle, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 1st state on thick, slightly textured, cream, wove paper, with cream, chine colle, Sheet: 10 15/16 ×

Ergett Dimmo 1789, James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Hand colored engraving

Ticket: Anacreontic Society Meeting, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Lawranson, 1742–1783, British, 1779, Stipple and line engraving and etching in black ink on

A View of St. Martin's Church, Also of the Arch of Septimius Severus, through which the Roman Generals marched in their Triumphs to the Capitol., Thomas Bowles, ca. 1712–died 1753, British, after unknown artist, (Pinanesi), undated,

Henricus Liberti, Groeningensis Cathed. Ecclesiæ Antuerp. Organista, 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, Line engraving,

The Sanctuary, J. W. Watts, died 1895, American, after Sir Edwin Henry Landseer, 1802–1873, British, no date, Engraving, Sheet: 16 7/8 x 31 13/16in. (42.9 x 80.8cm

Thomas, First Lord Coventry, Jacobus Houbraken, 1698–1780, Dutch, after unknown artist, 1741, Engraving; Proof with engraver's name and date only, Sheet: 18 1/2 x 11 15/16in. (47 x 30.3cm), DON'T USE: 18 1/2in. (47cm), and DON'T USE: 11

Shakspeare, William Holl, 1807–1871, British, after Robert Cooper, ca. 1800–1836, British, 1827, Stipple engraving on wove paper laid down on wove paper, Image: 4 1/8 x 3 1/4in. (10.5 x 8.3cm) and Sheet: 8 1/8 x 6 3/16in. (20.6 x 15.7cm

Horatio Walpole, Earl of Orford, Print made by T. Evans, active 19th century, after Sir Thomas Lawrence, 1769–1830, British, ca. 1811, Stipple engraving on medium, slightly textured, brown wove paper, Sheet: 11 1/8 x 8 3/4 inches (28.3 x

Patience in a Punt, William Dickinson, 1746–1823, British, after Henry William Bunbury, 1750–1811, British, c.1811, Stipple engraving, Sheet: 11 5/8 x 16 3/8in. (29.5 x 41.6cm

Rouen, looking down the River, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving

View of London and Church from One Tree Hill in Greenwich Park, unknown artist, eighteenth century, after unknown artist, undated, Engraving

Auxerre, Print made by Charles Heath, 1785–1848, British, after Robert Batty, 1789–1848, British, Published by Rodwell & Martin, active 1819–1835, British, 1821, Etching and line engraving on medium, slightly textured, cream wove

Crook of the Lune, Looking towards Hornby Castle, Print made by John Wykeham Archer, 1808–1864, British, after Joseph Mallord William Turner, 1775–1851, British, 1821, Line engraving and etching, engraver's proof on moderately thick,

Carolus dei-Gratia Magnæ Brittanniæ, Franciæ et Hiberniæ Rex, Adrian Lommelin, c. 1637–1677, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34; 1635–41), ca.1635, Line engraving and stipple

'Maid of the Mill', William Woollett, 1735–1785, British, after John Inigo Richards RA, 1730/31?–1810, British, c. 1765, Line engraving, Sheet: 13 1/4 x 17 5/16in. (33.7 x 44cm

Bally-Burgh Ness, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1836-1837, Line engraving

Stationers Hall, Stationers Hall Court, W. Watkins, active 1828–1830, after Thomas Hosmer Shepherd, 1792–1864, British, 1830, Engraving

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

Keswick Lake, Edward Alfred Goodall, 1819–1908, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof

Joseph Baretti, Secretary for Foreign Correspondence to the Royal Academy, James Hardy, active 1770s, after Sir Joshua Reynolds RA, 1723–1792, British, undated, Stipple engraving and etching on moderately thick, slightly textured, beige

The Wreck 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

Shakspeare, after Robert Cooper, ca. 1800–1836, British, 1827, Stipple engraving on wove paper laid down on wove paper, Sheet: 5 7/8 x 3 13/16in. (14.9 x 9.7cm

Adelaide, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John H. Benwell, 1762–1785, 1798, Line engraving

Old London Bridge after the Repair of 1700 until 1831/1832, Edward William Cooke, 1811–1880, British, after Edward William Cooke, 1811–1880, British, 1833, Engraving, Sheet: 10 1/4 x 14 5/8in. (26 x 37.1cm

Ticket for the Benefit of Mr. Sal Pietro, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1773, Etching and Line engraving on

Sir John Medina, Edward Harding, 1755–1840, British, after unknown artist, Published by Edward Harding, 1755–1840, British, 1797, Stipple engraving with etching on moderately thick, moderately textured, cream laid paper, Sheet: 13 5/8

The Blue Passion Flower, 1800, from Robert John Thornton, 'The Temple of Flora', London, 1799-1812, Print made by James Caldwall, 1739–1819, British, after Philip Reinagle, 1749–1833, British, 1800, Aquatint, stipple and line

Napoleon's Logemont, Quai Conti, John Horsburgh, 1791–1869, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving (Published State

Newark Castle, Print made by William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving; engraver's proof, 1st published state on medium, slightly textured, cream wove paper

John Dryden, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1743, Line engraving on medium, slightly textured, cream laid paper

The Grand - Signior retiring, James Gillray, 1757–1815, British, 1796, Engraving, Sheet: 25 3/8 x 19in. (64.5 x 48.3cm

Caius Julius Cæsar, William Blake, 1757–1827, British, Published by Robert John Thornton, 1768–1837, British, 1821, Etching and line engraving on medium, slightly textured, cream wove paper, Spine: 7 1/8 inches (18.1 cm), Sheet: 6

Niobe, Print made by William Sharp, 1749–1824, British, and landscape by Samuel Smith, 1745–1808, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1792, Etching and line engraving on moderately

Design for an Engraving: Parlement de Paris Reassembling with Figure of Justice, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), 1762, Graphite, squared with red chalk and incised for transfer on medium,

The Charity-Children in the Strand on the 7th July 1713 at a Public Procession of Thanksgiving for Peace en route to St. Paul's Cathedral, George Vertue, 1684–1756, British, after George Vertue, 1684–1756, British, 1715, Hand colored

Mr. Thomas Gray, James Basire, 1769–1822, British, after Benjamin Wilson, 1721–1788, British, And after William Mason, 1724–1797, British, ca. 1771, Line engraving, portrait

King on His Throne in the House of Lords, James Fittler, 1758–1835, British, after Edward Pugh, 1763–1813, British, ca. 1820, Engraving, Sheet: 5 9/16 x 7 9/16in. (14.1 x 19.2cm

The Forum Romanum, J. Henshall, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving, first published state on moderately thick, moderately textured, cream, wove paper, with gray, chine colle, Sheet: 11 × 14

Chateau Gaillard, from East, John Smith, 1799–1843, after Joseph Mallord William Turner, 1775–1851, British, 1835, Etching and engraving

A View of the Palace from the South side of the Lake with the Temples of Bellona and AEolus and the House of Confucius in the Royal Gardens at Kew, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after William Woollett,

Edward Coke, Lord Chief Justice, Jacobus Houbraken, 1698–1780, Dutch, 1741, Engraving, Sheet: 15 x 9 5/8in. (38.1 x 24.4cm

Oberwesel, Print made by James T. Willmore, 1800–1863, British, after Joseph Mallord William Turner, 1775–1851, British, 1838-1852, Line engraving; engraver's proof, touched on medium, slightly textured, cream wove paper

Eastnor Castle, Herefordshire, Print made by Henry Hobson, born 1814, British, after John Preston Neale, 1771/80–1847, British, between 1812 and 1825, Engraving, proof before letters, on chine collé laid down on smooth, thin, white

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