Materials & Techniques: etching (printing process) / Period: 18th century / Height [cm]: 45

Print made by William Hogarth, 1697–1764

Strolling Actresses Dressing in a Barn

1738

Print made by William Blake, 1757–1827

'The vale of death! that hush'd cimmerian vale' (Page 54)

1797

Print made by William Blake, 1757–1827

'Ungrateful, shall we grieve their hovering shades' (Page 55)

1797

Print made by William Blake, 1757–1827

'This King of Terrors is the Prince of Peace' (Page 63)

1797

Print made by William Blake, 1757–1827

'What, though my soul fantastick measures trod' (Page 4)

1797

Print made by William Blake, 1757–1827

The Christian Triumph; Title Page

1797

Print made by William Blake, 1757–1827

'Till death, that mighty hunter, earths them all' (Page 70)

1797

Print made by William Blake, 1757–1827

'Draw the dire steel? – ah no! – the dreadful blessing' (Page 73)

1797

Print made by William Blake, 1757–1827

'The Sun beheld it – No, the shocking scene' (Page 75)

1797

Print made by William Blake, 1757–1827

'The thunder, if in that the Almighty dwells' (Page 80)

1797

Print made by William Blake, 1757–1827

'But for the blessing wrestle not with heaven' (Page 88)

1797

Print made by William Blake, 1757–1827

'When faith is virtue, reason makes it so' (Page 92)

1797

Print made by William Blake, 1757–1827

'If angels tremble, 'tis at such a sight' (Page 93)

1797

Print made by William Blake, 1757–1827

'The goddess bursts in thunder and in flame' (Page 95)

1797

Print made by William Blake, 1757–1827

'Till at Death's toll, whose restless iron tongue' (Page 7)

1797

Print made by William Blake, 1757–1827

'Disease invades the chastest temperence' (Page 10)

1797

Print made by William Blake, 1757–1827

Night the First. On Life, Death and Immortality; Title Page

1797

Print made by William Blake, 1757–1827

'Oft bursts my song beyond the bounds of life' (Page 16)

1797

Print made by William Blake, 1757–1827

Night the Second. On Time, Death, and Friendship; Title Page (Page 17)

1797

Print made by William Blake, 1757–1827

'Emblem of that which shall awake the dead' (Page 19)

1797

Print made by William Blake, 1757–1827

'We censure nature for a span too short' (Page 23)

1797

Print made by William Blake, 1757–1827

'Behold him, when past by; what then is seen' (Page 25)

1797

Print made by William Blake, 1757–1827

'Time, in advance, behind him hides his wings' (Page 24)

1797

Print made by William Blake, 1757–1827

'Measuring his motions by revolving spheres' (Page 26)

1797

Print made by William Blake, 1757–1827

'O treacherous conscience! while she seems to sleep" (Page 27)

1797

Print made by William Blake, 1757–1827

'Tis greatly wise to talk with our past hours' (Page 31)

1797

Print made by William Blake, 1757–1827

'One radiant mark, – the death-bed of the just' (Page 41)

1797

Print made by William Blake, 1757–1827

Night the Third. Narcissa; Title Page

1797

Print made by William Blake, 1757–1827

'As if the sun could envy, check'd his beam' (Page 49)

1797

Print made by William Blake, 1757–1827

'Trembling each gulp, lest death should snatch the bowl' (Page 57)

1797

Print made by William Blake, 1757–1827

'Is lost in love! thou great Philanthropist' (Page 87)

1797

Print made by William Blake, 1757–1827

'Death! great proprietor of all! 'tis thine' (Page 8)

1797

Print made by William Blake, 1757–1827

'Its favours here are trials, not rewards' (Page 12)

1797

Print made by William Blake, 1757–1827

'The present moment terminates our sight' (Page 13)

1797

Print made by William Blake, 1757–1827

'Angels should paint it, angels ever there' (Page 40)

1797

Print made by William Blake, 1757–1827

'His hand the good man fastens on the skies' (Page 86)

1797

Print made by William Blake, 1757–1827

'That touch, with charm celestial heals the soul' (Page 90)

1797

Print made by William Blake, 1757–1827

'The longest night though longer far, would fail' (Page 15)

1797

Print made by William Blake, 1757–1827

'Teaching, we learn; and giving, we retain' (Page 35)

1797

Print made by William Blake, 1757–1827

'Love, and love only, is the loan for love' (Page 37)

1797

Print made by William Blake, 1757–1827

'Like that, the dial speaks; and points to thee' (Page 33)

1797

Print made by William Blake, 1757–1827

'Swift on his downy pinion flies from woe' (Page 1)

1797

after George Vertue, 1684–1756

The Battle Array of Carberry Hill Near Edinburgh with the Surrender of Mary Queen of Scots

1738

Print made by unknown artist

St. Martin's Church

between 1731 and 1754

Print made by unknown artist

The West Prospect of the Church and Steeple of St. Mary le Bow in Cheapside

between 1720 and 1750

Print made by Henry Hulsberg, active 1700s–died 1729

Cobham Hall, Kent: First and Second Floor Plans

1715 to 1725

Print made by Francesco Bartolozzi, 1728–1815

The Cottagers

1794

Print made by Thomas Cheesman, 1760–1834/35

Thomas Philip third Lord Grantham, afterwards Earl De Grey, with his brothers, Frederick John and Philip

1791

Print made by Richard Earlom, 1743–1822

The Enchantress

1786

Print made by Richard Earlom, 1743–1822

The Enchantress

1786

Engraved by William Woollett, 1735–1785

Celadon and Amelia

1766

Edward Rooker, 1724–1774

The Magicians Marching off After the Success of their Incantations

ca. 1763

William Woollett, 1735–1785

View of the Walton Bridge, Venus's Temple

1757

Pierre Charles Canot, ca. 1710–1777

The Great Bridge over the Taafe

1775

James Mason, 1710–1783

Pembroke Town and Castle

1775

Print made by William Woollett, 1735–1785

Celadon and Amelia

1766

William Woollett, 1735–1785

Ceyx and Alcyone

1769

Edward Rooker, 1724–1774

The Summit of Cader Idris Mountain

1775

Print made by William Woollett, 1735–1785

Meleager and Atalanta

1779

Print made by William Woollett, 1735–1785

Solitude

1778

William Byrne, 1743–1805

Carnarvon Castle

1775

Print made by Francesco Bartolozzi, 1728–1815

Juvenis auscultans seni de divinis admonenti

1764

Print made by Francesco Bartolozzi, 1728–1815

St. Nil

1762

Print made by William Doughty, 1757–1782

The Rev. William Mason, M. A

1779

Edward Rooker, 1724–1774

A Morning Scene of the Forest with Rinaldo on the Bank of the Enchanted River

ca. 1763

John Dixon, ca. 1740–1811

Henry Scott, Third Duke of Buccleugh and Fifth Duke of Queensberry

1771

Print made by John Bogle, 1746–1804

Night Watchman

1776

Print made by Matthew Darly, active 1754–1778

The Preposterous Head Dress, or the Feathered Lady

1776

Robert Pollard, 1755–1838

The Hermitage of Warkworth

1787

Engraved by Robert Pollard, 1755–1838

View of Queen Square

1789

Robert Pollard, 1755–1838

View of Grosvenor Square

1789

George Vertue, 1684–1756

Procession of Queen Elizabeth

1742

Samuel Middiman, ca. 1750–1831

Shakespeare's Winter Tale Act III Scene III

1794

Print made by Robert Pollard, 1755–1838

His Majesty Reviewing His Troops on Black Heath

1797

William Woollett, 1735–1785

Dido and Aeneas

1787

Print made by George Vertue, 1684–1756

Francis Earl of Bedford

1737

Print made by William Woollett, 1735–1785

The Fishery

1768

Print made by Robert Pollard, 1755–1838

View of London Bloomsbury Square

1787

Print made by Thomas Gaugain, 1748–1812

Turnips & Carrots ho

1797

Print made by Valentine Green, 1739–1813

Scene in a Country Town at Time of a Race

1789

Print made by Robert Pollard, 1755–1838

Boys Playing at Marbles

1786

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Materials & Techniques etching (printing process)

Period 18th century

Height [cm] 45

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Materials & Techniques etching (printing process)

Period 18th century

Height [cm] 45

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