Materials & Techniques: line engraving / Height [cm]: 41 / Classification: Prints

Print made by William Hogarth, 1697–1764

Hogarth Painting the Comic Muse

1764

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

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

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

'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

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

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

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

1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

'O treacherous conscience!' (Page 27)

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

Night the Third. Narcissa; Title Page

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 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

'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

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

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

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

1797

Print made by William Blake, 1757–1827

'Disease invades the chastest temperence' (Page 10)

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

'Where sense runs savage broke from reason's chain' (Page 46)

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Etched by Samuel Middiman, ca. 1750–1831

High Street, Oxford

1812

Print made by James Tibbits Willmore, 1800–1863

Destruction of Both Houses of Parliament

1835

Print made by Edward Goodall, 1795–1870

Cologne on the Rhine

1824

Christian von Mechel 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

Welgelegen: Vue de la Facade de la Maison de Campagne nommee Welgelegen au Bois de Harlem, Appartenante a Mr. Henry Hope d'Amsterdam

1792

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

Cobham Hall, Kent: First and Second Floor Plans

1715 to 1725

Print made by W. R. Smith, active 1819–1851

Dido and Aeneas; The Morning of the Chase

1842

Print made by Etienne Dupérac, ca. 1535–1604

Insula Tiberina

1582

Edward Rooker, 1724–1774

Perspective View of the Bridge at Sion

1768

Robert Mitchell Meadows, Died before 1812

Dodbery and Verges, with the Watch; "Much Ado About Nothing", Act III, Scene II

1794

Peltro W. Tomkins, 1760–1840

Sir Andrew Aguecheek, Sir Toby Belch and the Clown - "Twelfth Night", Act II, Scene III

1792

Print made by Samuel Cousins, 1801–1887

The Countess of Blessington

1837

Print made by John Keyse Sherwin, c.1751–1790

The Fortune Teller

1784

Print made by William Miller, 1796–1882

Nantes

1833

Print made by John Cousen, 1804–1880

Light Towers of the Hève

1834

Print made by Thomas Chambars, ca. 1724–1789

Mrs. Quarrington as St. Agnes

ca. 1787

Sutton Nicholls, active 1725

Southampton or Bloomsbury Square

1754

Print made by William Miller, 1796–1882

Dumbarton Castle

1834

Print made by John Horsburgh, 1791–1869

Shakespeare's Monument at the Church at Stratford upon Avon

1834

Print made by John Horsburgh, 1791–1869

Hotel de Ville, Paris

1834

Print made by John Horsburgh, 1791–1869

Calais

1836

Print made by William Miller, 1796–1882

Mayence

1834

Print made by William Miller, 1796–1882

Mayence

1834

Print made by William Miller, 1796–1882

Venice, the Campanile

1834

James Mitchell, 1791–1852

Rat Hunters

1830

James Mason, 1710–1783

Pembroke Town and Castle

1775

Print made by Edward Francis Finden, 1791–1857

Genoa

1832-1834

Print made by Jan van de Velde IV, ca. 1620–1686

Oliver Cromwell, P.R.O.C

ca. 1655

Print made by Lucas Vorsterman I, 1595–1675

Franciscus de Moncada

ca. 1635

Print made by Joseph Wood, 1720–1763 or 1764

The View from One Tree Hill in Greenwich Park

1744

Print made by James Tibbits Willmore, 1800–1863

Fire at Sea

1835

William Elliot, active 1774, died 1792

Kilgarren Castle, South Wales

1765

Pierre Charles Canot, ca. 1710–1777

The Great Bridge over the Taafe

1775

Joseph Ryland A Perspective View of the Country Town of Chelmsford in Essex, with the Judges Procession on the Day of Entrance, Attended by the High Sheriff and His Officers

Print made by Joseph Ryland, active ca. 1775–1790

A Perspective View of the Country Town of Chelmsford in Essex, with the Judges Procession on the Day of Entrance, Attended by the High Sheriff and His Officers

undated

Print made by Nicolas Beatrizet, 1507 or 1515–ca. 1565

Pantheum Romanum nunc Mariae Cognomento

1549

Charles Grignion, 1717–1810

A French Petit Maître and His Valet

1771

Print made by William Miller, 1796–1882

Malmaison

1835

Print made by Edward Francis Finden, 1791–1857

Santa Maria della Spina, Pisa

1832-1834

Simon François Ravenet, 1706–1774

The Pool of Bethesda

1772

Simon François Ravenet, 1706–1774

The Good Samaritan

1772

Print made by Henry Le Keux, 1787–1868

Abbotsford

1834

Print made by Francesco Bartolozzi, 1728–1815

Luis Pinto de Sousa Coutinho, 1st Viscount of Balsemão

before 1797

Print made by James Basire, 1730–1802

Plate XIII: St Stephen's Chapel

1795

Print made by James Basire, 1730–1802

Plate XII: St Stephen's Chapel

1795

Print made by James Basire, 1730–1802

Plate XI: St Stephen's Chapel

1795

John Harris the elder Phalaena Quernaria. Quercus Rubra (American Oak Beauty, Northern Red Oak), Plate 103 from James Edward Smith, the 'Natural History of the Rarer Lepidopterous Insects of Georgia', London, 1797

Print made by John Harris the elder, 1767–1832

Phalaena Quernaria. Quercus Rubra (American Oak Beauty, Northern Red Oak), Plate 103 from James Edward Smith, the 'Natural History of the Rarer Lepidopterous Insects of Georgia', London, 1797

1797

John Harris the elder Phalaena Aceris. Acer Rubrum (Grey Maple Moth, Red Maple), Plate 93 from James Edward Smith, the 'Natural History of the Rarer Lepidopterous Insects of Georgia', London, 1797

Print made by John Harris the elder, 1767–1832

Phalaena Aceris. Acer Rubrum (Grey Maple Moth, Red Maple), Plate 93 from James Edward Smith, the 'Natural History of the Rarer Lepidopterous Insects of Georgia', London, 1797

1797

Print made by John Cousen, 1804–1880

Light Towers of the Hève

1834

Print made by James Dobie, 1849–1911

Horae Serenae

1896

Print made by Jacobus Houbraken, 1698–1780

Thomas Wentworth, 1st Earl of Stratford

1740

Print made by George Vertue, 1684–1756

William Cavendish of Newcastle

1739

Print made by John Russell, 1745–1806

Lunar Planisphere, Hypothetical Oblique Light

1806

Print made by William Hogarth, 1697–1764

After

1736

Print made by William Miller, 1796–1882

St. Michael's Mount, Cornwall

1866

Print made by William Miller, 1796–1882

The Bell Rock Lighthouse

1862

Print made by James Tibbits Willmore, 1800–1863

Dover

1851

Print made by Thomas Abiel Prior, 1809–1886

Dido Building Carthage

1863

Print made by Samuel Cousins, 1801–1887

Lady Harriet Clive

1840

Print made by James Tibbits Willmore, 1800–1863

Dover

1851

Print made by William Miller, 1796–1882

The Bell Rock Lighthouse

1862

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Materials & Techniques line engraving

Height [cm] 41

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Materials & Techniques line engraving

Height [cm] 41

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