Images at Librifly

search results: Engraving clear search

A View of the Tower, taken upon the Thames, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1751, Engraving

The Dead Eagle - Oran (Vignette), William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Etching and engraving (Engraver's Proof) on moderately thick, slightly textured, crea, wove paper with

H.R.H. Prince of Wales, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Russell, 1745–1806, British, 1795, Engraving

Lady Gertrude, Marchioness of Halifax, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), undated, Line engraving on

Divo Antonino et Divae Faustinae, Print made by unknown artist, sixteenth century, Published by Antonio Lafreri, 1512–1577, French, 1565, Line engraving on medium, slightly textured, cream laid paper, Sheet: 21 3/8 × 16 1/8 inches (54.3

Carnarvon Castle, William Byrne, 1743–1805, British, after Richard Wilson RA, 1714–1782, British, active in Italy (1750–56), 1775, Line engraving and etching with hand coloring on moderately thick, moderately textured, cream laid

Sir Henry Clinton, K.B., Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after John Smart, 1741–1811, British, 1780, Engraving

Antonius Van Dyck Eques and Peter Paul Rubens Eques, Print made by Paulus Pontius, 1603–1658, Flemish, and Erasmus Quellinus, 1607–1678, Flemish, after Sir Anthony Van Dyck, 1599–1641, Flemish, active in Britain (1620–21; 1632–34;

Venice the Rialto - Moonlight, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving, engraver's proof on moderately thick, moderately textured, cream, wove paper, with

Robert Marsham, 2nd Baron Romney, Charles Sherwin, c. 1764–1794, undated, Stipple engraving on medium, slightly textured, cream, laid paper, Sheet: 6 11/16 × 4 11/16 inches (17 × 11.9 cm) and Image: 3 3/16 × 2 11/16 inches (8.1 × 6.8

Bookplate, unknown artist, after ?, 1823, Steel engraving, Sheet: 6 3/4 × 5 1/4 inches (17.1 × 13.3 cm), bookplate, elephant (animal), landscape, trees

Coteaux de Mauves, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, engraver's proof

Ulm Cathedral, Print made by William Woolnoth, active 1806–1830, British, after Robert Batty, 1789–1848, British, 1822, Line engraving on medium, slightly textured, cream wove paper

Portrait of a Man, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after unknown artist, undated, Engraving

St. Michael's Mount, Cornwall, William Bernard Cooke, 1778–1855, British, after Joseph Mallord William Turner, 1775–1851, British, 1813, Etching and line engraving on moderately thick, moderately textured, cream wove paper, Sheet: 11

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

Imperial Riding School, St. Michael's Platz, Vienna, Print made by H. Winkles, Active 1834–1840, after Robert Batty, 1789–1848, British, Print made by Rodwell & Martin, active 1819–1835, British, 1822, Line engraving on medium,

Templi Ignoti, Sed ex eius Fragmentis, Print made by unknown artist, sixteenth century, Published by Antonio Salamanca, ca. 1500–1562, Spanish, Published by Antonio Lafreri, 1512–1577, French, between 1546 and 1562, Line engraving on

Gosport, Entrance to Portsmouth Harbor, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Etching and engraving, touched with graphite (Engraver's Proof), Plate: 10 x 12in. (25.4 x

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

Clifford's Inn Hall, Fleet Street, John J. Hinchliff, 1805–1875, British, after Thomas Hosmer Shepherd, 1792–1864, British, 1830, Engraving

Romeo and Juliet: Act IV, Scene III (A Monument Belonging to the Capulets), Print made by Peter Simon, 1750–1810, after James Northcote, 1746–1831, British, 1791, Stipple engraving, etching, and aquatint on medium, slightly textured,

Interior of the Royal Exchange, London, John Greig, active 1800–1853, British, after unknown artist, ( Elms ), 1805, Engraving

Leather-seller's Hall, James Peller Malcolm, 1767–1815, American, after James Peller Malcolm, 1767–1815, American, 1799, Engraving

No.1 and No. 2 in the 8 stages of growth of the Surinam Frog, Archibald Robertson, 1748–1788, after James Bruce, 1730–1794, British, 1796, Engraving

Liverpool, from the Mersey, No. IV, Print made by Robert Wallis, 1794–1878, British, after Samuel Austin, 1796–1834, British, Published by Fisher, Son & Co., active 1821–1848, British, 1829, Line engraving on medium, slightly

John Maitland, Duke of Lauderdale, Print made by Jacobus Houbraken, 1698–1780, Dutch, after Sir Peter Lely, 1618–1680, Dutch, active in England (from 1643), 1740, Etching and line engraving on medium, slightly textured, cream laid

Isleworth, Thomas Preist, active 1740-1750, British, after Thomas Preist, active 1740-1750, British, 1738, Hand colored engraving, Sheet: 7 5/8 x 13 1/2in. (19.4 x 34.3cm

Certificate of the Royal Academy of Arts appointing Henry Perronet Briggs to be an Associate, November 7, 1825, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Giovanni Battista Cipriani RA, 1727–1785,

Untitled: Portrait of William Shakespeare, Jean Marie Delatre, 1746–1840, French, 1786, Etching and line engraving on laid paper laid down on wove paper, Sheet: 5 3/8 x 3 3/16in. (13.7 x 8.1cm

Jesus Driving the Moneychangers from the Temple (Latin), Eric Gill, 1882–1940, British, 1919, Wood-engraving on moderately thick, smooth, cream wove paper, Sheet: 6 1/4 x 4 3/16 inches (15.8 x 10.7 cm) and Image: 5 9/16 x 3 5/8 inches (14.1

The Landing of Columbus, Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Etching and engraving, 1st state on moderately thick, slightly textured, beige, wove paper, Sheet: 11 5/8 ×

Ticket for the Benefit of Madame Banti, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), 1797, Line engraving on medium,

Lady Katherine Sophia (née Manners) Heathcote, John Samuel Agar, ca. 1773–1858, British, after Anne Mee, ca. 1760–1851, British, 1812, Stipple engraving on moderately thick, slightly textured, cream, wove paper, with cream, chine

Lady Rushout and Daughter, Print made by Thomas Burke, 1749–1815, British, after Angelica Kauffmann RA, 1741–1807, Swiss, active in Britain (1766–81), Published by William Dickinson, 1746–1823, British, 1784, Stipple engraving,

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), between 1768 and 1776, Etching and

The View from One Tree Hill in Greenwich Park, John Wood, 1728–1781, British, after Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), 1744, Hand colored engraving on moderately thick, moderately textured, beige, laid

Vauxhall Gardens shewing the Grand Walk at the Entrance of the Garden and the Orchestra with the Music Playing, John S. Muller, ca. 1715–1792, German, active in Britain, after Samuel Wale RA, 1721–1786, British, after 1751, Etching and

Rev. John Caspar Lavater (1787-1801), Print made by William Blake, 1757–1827, British, 1800, Line engraving on moderately thick, smooth, cream wove paper, Sheet: 14 3/8 × 11 9/16 inches (36.5 × 29.4 cm) and Image: 10 1/16 × 8 3/8 inches

A View taken near Limehouse Bridge, looking down the Thames, John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, 1751, Hand colored engraving

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

The Duke of Gloucester Accusing Jane Shore of Witchcraft, Print made by William Bromley, 1769–1842, British, after Robert Smirke, 1752–1845, British, Published by J. Stratford, active 1792–1813, British, 1811, Etching and line

Amboise, W. R. Smith, active 1819–1851, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving on moderately thick, slightly textured, beige, wove paper, Sheet: 8 1/4 × 11 7/16 inches (21 × 29.1 cm), Plate: 6

The Soldier's Dream (vignette), Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1837, Line engraving, engraver's proof (touched

Francis Cotes, D. P. Pariset, born 1740, active in Britain from 1767, French, after Pierre-Etienne Falconet, 1741–1791, French, 1768, Stipple engraving, Sheet: 8 1/2 x 6in. (21.6 x 15.2cm

The Golden Bough, Thomas Abiel Prior, 1809–1886, British, after Joseph Mallord William Turner, 1775–1851, British, 1859-1879, Steel engraving

The City of Morocco, Taken from the South, after William Marshall Craig, ca. 1788–1828, British, 1828, Etching and line engraving on medium, slightly textured, cream wove paper

For the Sexes: The Gates of Paradise, Plate 14, 'Does thy God O Priest take such vengeance as this?', Print made by William Blake, 1757–1827, British, 1826, Etching and line engraving on moderately thick, slightly textured, cream wove

Marly, William Miller, 1796–1882, British, after Joseph Mallord William Turner, 1775–1851, British, 1831, Line engraving, engraver's proof on thick, moderately textured, beige, wove paper, Sheet: 11 3/4 × 17 3/16 inches (29.8 ×

Cologne, Print made by Edward Goodall, 1795–1870, British, after Joseph Mallord William Turner, 1775–1851, British, 1824, Etching and line engraving; first published state on medium, slightly textured, cream wove paper with 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, Line engraving

Malta, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832, Line engraving, 3rd state on medium, slightly textured, beige, wove paper, Sheet: 5 15/16 × 8 9/16 inches (15.1 × 21.7

George Jamesone, Alexander Bannerman, ca. 1730–1780, George Jamesone, 1587/8–1644, British, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 11 3/4 x 9 1/8 inches (29.8 x 23.2 cm), Plate: 7 x 5 3/8 inches

The Bride, Print made by Edward Calvert, 1799–1883, British, 1828, Engraving and drypoint on thin, slightly textured, cream Asian paper, Sheet: 4 5/16 x 7 inches (10.9 x 17.8 cm), Plate: 4 5/16 x 6 1/2 inches (10.9 x 16.5 cm), and Image:

A View of the House of Peers, the King sitting on his Throne, the Commons attending him at the end of ye session 1741/2, John Pine, 1690–1756, British, after unknown artist, 1749, Hand colored engraving

The Stump Speaker, Charles Schlecht, 1843–1932, after John George Brown, 1831–1913, American, undated, Engraving on moderately thick, moderately textured, beige, laid paper, Sheet: 26 1/4 × 32 1/2 inches (66.7 × 82.6 cm) and Image:

Ehrenbreitstein, Robert Wallis, 1794–1878, British, after Joseph Mallord William Turner, 1775–1851, British, 1828, Line engraving, first published state on thick, slightly textured, beige, wove paper, with gray, chine colle, Sheet:

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,

Ashestiel, 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

View of Radcliffe Church, Bristol, John Pye, 1782–1874, British, after Joseph Mallord William Turner, 1775–1851, British, 1814, Line engraving, engraver's proof

Barn-Elms, Surrey, Samuel Middiman, ca. 1750–1831, British, And John Hall, 1739–1797, British, after unknown artist, ( Edward Edmunds ), 1785, Engraving on slightly textured, moderately thick, cream wove paper, Sheet: 7 1/2 × 9 1/2

Ticket: Anacreontic Society Meeting, Print made by Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), after William Lawranson, 1742–1783, British, 1773, Etching, stipple engraving and line engraving in red ink

Gallion near Vernon the Palace of the Archbishop of Rouen, Print made by William Thomas, active 1783– died 1800, Published by John Sewell, active 1735–1802, British, 1793, Etching and line engraving on medium, slightly textured, cream

Young's Night Thoughts, Page 87, 'Is Lost in Love! Thou Great Philanthropist', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Negropont, Edward Francis Finden, 1791–1857, British, after Joseph Mallord William Turner, 1775–1851, British, 1832-1834, Line engraving, engraver's proof on thick, moderately textured, beige, wove paper with beige, chine colle,

Murray, Alexander Bannerman, ca. 1730–1780, after unknown artist, undated, Line engraving on medium, slightly textured, cream wove paper, Sheet: 12 1/4 x 9 1/2 inches (31.1 x 24.1 cm), Plate: 7 1/2 x 5 1/2 inches (19.1 x 14 cm), and

Hampton Court, Herefordshire, Print made by James Walker, 1748–1808, British, after Joseph Mallord William Turner, 1775–1851, British, 1797, Etching with line engraving on medium, slightly textured, cream wove paper, Sheet: 8 1/2 ×

Welgelegen: Vue de la Facade de la Maison de Campagne nommee Welgelegen au Bois de Harlem, Appartenante a Mr. Henry Hope d'Amsterdam, Christian von Mechel, 1737–1817, Swiss, 1792, Engraving on smooth, thick, cream wove paper, Sheet: 19 ×

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

Kew Chapel, Charles Grignion, 1717–1810, British, after Samuel Wale RA, 1721–1786, British, 1795, Engraving

Honfleur, John Cousen, 1804–1880, British, after Joseph Mallord William Turner, 1775–1851, British, 1834, Line engraving and etching, engraver's proof

Foundation Plan of the Ancient Palace of Westminster, John Thomas Smith, 1766–1833, British, after John Thomas Smith, 1766–1833, British, 1807, Engraving

Walton Bridge, J. C. Varrall, active 1815–1827, after Joseph Mallord William Turner, 1775–1851, British, 1830, Line engraving and etching, 3rd state on moderately thick, smooth, cream, wove paper, Sheet: 10 9/16 × 14 1/2 inches (26.8

7. Returning from the Chase / Retour de Chasse, Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after John Wootton, 1682–1764, British, 1770, Engraving, Sheet: 19 3/4 x 15 3/4in. (50.2 x 40cm

John King, Print made by Simon de Pas, ca. 1595–1647, Dutch, active in Denmark, between 1620 and 1640, Line engraving on medium, slightly textured, cream laid paper

The Monmouth of 64 Guns, taking the Foudroyant a French Man of War of 84 Guns on the 28th of Feb. 1758 in the Mediterranean, ...., Print made by Peter P. Benazech, 1767–1794, after Francis Swaine, 1730–1782, British, Published by Robert

Battle of Naseby, Print made by Edward Radclyffe, 1809–1863, British, after George Cattermole, 1800–1868, British, Published by Longman, active 1804–1914, British, 1844, Line engraving on medium, slightly textured, cream wove

The Seat of Sir Charles Afgill, Bart., near Richmond in Surry, William Watts, 1752–1851, British, after William Watts, 1752–1851, British, 1781, Engraving

Jane, Countess of Harrington, Lord Viscount Petersham and the Honourable Lincoln Stanhope, Francesco Bartolozzi RA, 1728–1815, Italian, active in Britain (1764–99), Sir Joshua Reynolds RA, 1723–1792, British, 1789, Stipple engraving

Sessions House Clerkenwell Green, George Cooke, 1781–1834, British, after George Cooke, 1781–1834, British, 1826, Engraving, Sheet: 6 x 8in. (15.2 x 20.3cm

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), between 1768 and 1776, Etching and

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

Adam Ferguson, L.L.D., John Beugo, 1759–1841, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Line and stipple engraving on moderatley thick, slightly textured, cream, wove paper, Sheet: 10 5/8 × 7 11/16 inches (27

3. Lecture, / Upon the most Novel safe & sure method of Popping a Horse-Ball, Charles Loraine Smith, 1751–1835, British, 1792, Hand colored engraving, Sheet: 8 1/4 x 10 3/8in. (21 x 26.4cm

Chateau de la Mailleraie, Robert Brandard, 1805–1862, British, after Joseph Mallord William Turner, 1775–1851, British, 1833, Line engraving

Karl Nordström, Tekla Nordström, The Artist's Fiancée, The artist's fiancee, painting, 1885, oil on canvas, Height, 54 cm (21.2 inches), Width, 36 cm (14.1 inches), Signed, Karl Nordström -85, Tekla Lindström engraving

Christian Georg Lind, Fredrik Adolph Schleppegrell, Danish Major-General, Fredrik Adolph Schleppegrell (1792-1849), Danish Major General, painting, 1855, Gouachad engraving, Height, 15 cm (5.9 inch), Width, 12 cm (4.7 inches),

Nathaniel Hone d, Self-portrait of the artist, painting, self-portrait, 1763, Watercolor on ivory, Mounting in gold, Engraving on the back, Height, 3.1 cm (1.2 inch), Inscription, Nathaniel Hone Obt 1784, engraved on the back, Signing

Gian Jacopo Caraglio, Italian, 1500-1570, after Parmigianino, Italian, 1503-1540, Marriage of the Virgin, between 1500 and 1570, engraving printed in black ink on laid paper, Sheet (trimmed within plate mark): 18 × 9 1/8 inches (45.7 ×

Johann Elias Ridinger, German, 1698-1769, Deer in Flight Arrested by a Lake, 18th century, engraving and etching printed on wove paper, Plate: 13 5/8 × 11 inches (34.6 × 27.9 cm

Richard Dalton, English, 1720-1791, after Lodovico Carracci, Italian, 1555-1619, Hercules, between 1720 and 1791, etching and engraving printed in black ink on laid paper, Plate: 20 5/8 × 13 1/2 inches (52.4 × 34.3 cm

Andrea Mantegna, Italian, 1431-1506, Bacchanal with Silenus, ca. 1490, engraving printed in black ink on laid paper, Sheet (trimmed within plate mark): 12 1/8 × 17 5/8 inches (30.8 × 44.8 cm

Hendrick Goltzius, Dutch, 1558-1617, Flagellation of Christ, 1597, engraving printed in black ink on laid paper, Plate: 8 × 5 1/4 inches (20.3 × 13.3 cm

Enea Vico, Italian, 1523-1567, after Michelangelo, Italian, 1475-1564, Children Carrying a Deer to a Caldron, 1546, engraving printed in black ink on laid paper, Plate: 11 1/4 × 16 1/4 inches (28.6 × 41.3 cm

Hans Sebald Beham, German, 1500-1550, Hercules Fighting Against the Trojans, 1545, engraving printed in black ink on laid paper, Sheet (trimmed within plate mark): 2 × 3 1/8 inches (5.1 × 7.9 cm

Lucas Kilian, German, 1579-1637, after Hans Rottenhammer, German, 1564-1625, Albrecht Durer, 1608, engraving printed in black ink on laid paper, Sheet (trimmed within plate mark): 13 1/4 × 8 inches (33.7 × 20.3 cm

Bonaventura Bisi, Italian, 1612-1662, Holy Family, 1634, etching and engraving printed in black ink on wove paper, Plate: 13 1/4 × 10 3/8 inches (33.7 × 26.4 cm

Karel van Sichem, Dutch, 1575-1705, Francisco de Mendoza, between late 16th and 17th century, engraving printed in black ink on laid paper, Plate: 7 × 15 1/8 inches (17.8 × 38.4 cm

Virgil Solis, German, 1514-1562, Music, mid-16th century, engraving printed in black ink on laid paper, Sheet (trimmed within plate mark): 3 1/4 × 2 1/4 inches (8.3 × 5.7 cm

Johann Georg Waldreich, German, 1680-1680, Portraits of Adam van Noort, Otto Veen, Guido Reni, Adam Elsheimer, Abraham Blomaert, Petrus Paulus, Rubbens, 16th century, engraving printed in black ink on laid paper, Plate: 12 1/4 × 8 1/8

search results: Engraving clear search