Materials & Techniques: aquatint / Credit Line: Yale Center for British Art, Paul Mellon Collection

Print made by Joseph Mallord William Turner, 1775–1851

Junction of Severn and Wye

1811

Thomas Girtin, 1775–1802

The Watermill Above the Bridge at Charenton

1803

Robert Havell, 1769–1832

Crofton Hall, Yorkshire

1813

James Malton, 1761–1803

Early state, with revisions, of Design 23, Plate 25 of A Collection of Designs for Rural Retreats

1802

James Gillray, 1756–1815

Presages of the Millenium

1795

Imitator of George Baxter, 1804–1867

Funeral of the Late Duke of Wellington

after 1893

Imitator of George Baxter, 1804–1867

Funeral of the Late Duke of Wellington

after 1893

Imitator of George Baxter, 1804–1867

Funeral of the Late Duke of Wellington

after 1852

Print made by Robert Pollard, 1755–1838

View of London Bloomsbury Square

1787

Thomas Girtin, 1775–1802

View of Belle Vue and Pont de Seve taken from the Terrace near Pont de St. Cloud

1802

Thomas Girtin, 1775–1802

View of the Palace and Village of Choisi on the Banks of the Seine

1803

Thomas Girtin, 1775–1802

View of the Village of Chaillot and &c., taken from Pont de la Concorde

1803

Thomas Girtin, 1775–1802

View from Palace Terrace at St. Germain en Laye; The Aquaduct of Marli, seen in the distance

1803

Thomas Girtin, 1775–1802

View of St. Cloud and Mount Calvary taken from Pont de Seve

1802

Thomas Girtin, 1775–1802

The Water Mill above the Bridge at Charenton

1803

unknown artist

East View of the Cast Iron Bridge Over the River Wear at Sunderland in the County of Durham

1796

unknown artist

West View of the Cast Iron Bridge Built by Rowland Burdon, Esq., M.P. Over the River Wear at Sunderland in the County of Durham

1798

Print made by George Cruikshank, 1792–1878

Finding things not exactly what he expected - Plate 2

1820

Print made by George Cruikshank, 1792–1878

Mr. B seeking the Bubble reputation - Plate 5

1820

Print made by George Cruikshank, 1792–1878

Frontispiece: The Progress of a Midshipman

1820

Print made by George Cruikshank, 1792–1878

Mr. B Promoted to Lieut. & first putting on His Uniform - Plate 7

1820

Print made by George Cruikshank, 1792–1878

Mr. B. Mastheaded -or, enjoying the fresh air for the 304th time - Plate 4

1820

Robert Dodd, 1748–1816

Howe's Victory off Ushant

1795

Robert Havell, 1769–1832

Crofton

1813

Robert Havell, 1769–1832

Crofton Hall, Yorkshire

1813

Robert Havell, 1769–1832

Crofton

1813

Print made by Thomas Girtin, 1775–1802

A View of Pont Neuf, the Mint, & c

1803

Richard Cooper the Younger, 1740–1814

The Procession of the Knights of the Most Noble Order of the Garter

1782

Print made by Frederick Christian Lewis the Elder, 1779–1856

Tours, looking backwards

undated

Print made by Richard Gilson Reeve, 1803–1889

Malmsbury Abbey

1809

Print made by Peter Simon, 1750–1810

Romeo and Juliet: Act IV, Scene III (A Monument Belonging to the Capulets)

1791

Print made by Robert Thew, 1758–1802

King Richard III: Act III, Scene I (The Meeting of Edward V and His Brother, Richard, Duke of York)

1789

James Gillray, 1756–1815

The Rake's-Progress at the University - No. 1 - "Ah me! what perils doth that Youth encounter, who dares within the Fellow's Bog to enter."

1806

James Gillray The Rake's-Progress at the University - No. 2 - "Ah me! that thou the Freshman's-Guide should'st read, yet venture on the hallowed grass to tread"

James Gillray, 1756–1815

The Rake's-Progress at the University - No. 2 - "Ah me! that thou the Freshman's-Guide should'st read, yet venture on the hallowed grass to tread"

1806

James Gillray, 1756–1815

The Rake's-Progress at the University - No. 3 - "The Master's Wig the guilty wight appals, who brings his Dog within the College walls."

1806

James Gillray, 1756–1815

The Rake's-Progress at the University - No. 4 - "Expulsion waits that Son of Alma Mater who dares to shew his face in Boot or Gaiter"

1806

James Gillray, 1756–1815

The Rake's-Progress at the University - No. 5 - "Convened for wearing Gaiters - sad offence! Expelled - nor e'en permitted a defence."

1806

Print made by Luigi Schiavonetti, 1765–1810

Sweet China Oranges, Sweet China

1794

Print made by Anthony Cardon, 1772–1813

Do You Want Any Matches?

1794

Print made by Anthony Cardon, 1772–1813

Round & Sound, Five Pence a Pound, Duke Cherries

1795

Print made by Giovanni Vendramini, 1769–1839

Old Chairs to Mend

1795

Print made by Anthony Cardon, 1772–1813

A New Love Song, Only ha'Penny a Piece

1796

Print made by Thomas Hall, active early 19th century

A South View of Westminster, from Mill-bank; Where the King's Scholars-Pond Sewer Empties Itself into the Thames

1808

Print made by Giovanni Vendramini, 1769–1839

Knives, Scissors, and Razors to Grind

1795

Print made by Giovanni Vendramini, 1769–1839

Hot Spice Gingerbread, Smoking Hot!

1796

Print made by Luigi Schiavonetti, 1765–1810

Two Bunches a Penny Primroses, Two Bunches a Penny

1793

Print made by Luigi Schiavonetti, 1765–1810

Milk below Maids

1793

Print made by Niccoló Schiavonetti, 1771–1813

New Mackrel, New Mackrel

1795

Print made by Giovanni Vendramini, 1769–1839

Strawberrys, Scarlet Strawberrys

1795

Print made by Giovanni Vendramini, 1769–1839

Fresh Gathered Peas, Young Hastings

1795

Print made by Thomas Gaugain, 1748–1812

Turnips & Carrots ho

1797

unknown artist

View of the Coronation Procession of George IV

ca. 1821

Print made by Augustus Charles Pugin, 1762–1832

Henry VII Chapel at Westminster Showing Two Renovated Pinacles

undated

Print made by John Bruce, fl. 1826

Chain Pier at Brighton

ca. 1830

Thomas Malton, 1726–1801

Lincoln Cathedral

1800

unknown artist

Returning from a Review...Paris

1802

Print made by Charles Catton the elder RA, 1728–1798

The Margate Hoy

1785

Print made by George Cruikshank, 1792–1878

Fitting out. - Plate 1

1820

Robert Pollard, 1755–1838

Vaux-Hall

1785

after George Baxter, 1804–1867

The Death of Ananias

after 1855

Print made by George Baxter, 1804–1867

The Conversion of the Proconsul

after 1855

after George Baxter, 1804–1867

The Miraculous Draught of Fishes

after 1855

after George Baxter, 1804–1867

The Miraculous Draught of Fishes

after 1855

after George Baxter, 1804–1867

The Healing of the Lame Man

after 1855

George Baxter, 1804–1867

The Sacrifice at Lystra

after 1855

George Baxter, 1804–1867

The Sacrifice at Lystra

after 1855

after George Baxter, 1804–1867

The Healing of the Lame Man

after 1855

George Baxter, 1804–1867

The Sacrifice at Lystra

after 1855

George Baxter, 1804–1867

St Paul Preaching in Athens

after 1855

Print made by Thomas Girtin, 1775–1802

View of Port Neuf, part of the Louvre, Notre Dame & the College of Four Nations

1803

Print made by Thomas Girtin, 1775–1802

Views of the Pantheon, taken from the Arsenal

1803

Print made by Thomas Girtin, 1775–1802

The Water Works at Marli,and St. Germain en Laye Seen in the Distance

1803

after Thomas Girtin, 1775–1802

On the Banks of the Marne below the Bridge at Charenton 1803; Plate 19 from Views in Paris, the Emanuel Volume tracing of the plate B1981.25.2628

1803

Print made by Thomas Girtin, 1775–1802

The Water Mill above the Bridge at Charenton 1803; Plate 20 from Views in Paris, the Emanuel Volume tracing of the plate B181.25.2629

1803

Print made by Thomas Girtin, 1775–1802

View of St. Cloud and Mt. Calvary taken from Pont de Seve

1802

Print made by Frederick Christian Lewis the Elder, 1779–1856

View of the Village of Chaillot & C. taken from Pont de la Concorde

1803

Thomas Malton, 1726–1801

Lleweney Bleach Works

1798

Engraved by George Baxter, 1804–1867

Balmoral Castle

after 1850

Print made by George Baxter, 1804–1867

The Belle of the Village

1854

Engraved by George Baxter, 1804–1867

Balmoral Castle

after 1850

Imitator of George Baxter, 1804–1867

The Bride, Paul and Virginia, the Chalees Satoon, East India

after 1850

Imitator of George Baxter, 1804–1867

Funeral of the Late Duke of Wellington

after 1852