Materials & Techniques: line engraving / On-site Access: Accessible by appointment in the Study Room / Period: 19th century

Print made after George Stubbs, 1724–1806

Plate VIII, Human Body, Posterior View

1804

Print made after George Stubbs, 1724–1806

Plate X, Fowl Body, Lateral View

1804

after Joseph Mallord William Turner, 1775–1851

Hedging and Ditching

1812

after Joseph Mallord William Turner, 1775–1851

Crowhurst

1812

after Joseph Mallord William Turner, 1775–1851

Scene in the Campagna

1812

after Joseph Mallord William Turner, 1775–1851

Little Devil's Bridge over the Russ above Altdorft, Switzerland

1812

after Joseph Mallord William Turner, 1775–1851

Windsor Castle from Salt Hill

1812

after Joseph Mallord William Turner, 1775–1851

Tours - Looking Backward

1833

William Blake, 1757–1827

Epicurus

1821

William Blake, 1757–1827

Theocritus

1821

William Blake, 1757–1827

Octavius Augustus Cæsar

1821

William Blake, 1757–1827

From Antique Coins

1821

William Blake, 1757–1827

Caius Julius Cæsar

1821

Print made by William Blake, 1757–1827

A View of St. Edmund's Chapel, in the Church of East Dereham, Containing the Grave of William Cowper Esq

1804

Print made by William Blake, 1757–1827

A Sketch of the Monument Erected in the Church of East Dereham in Norfolk in Memory of William Cowper Esq

1804

Print made by William Blake, 1757–1827

Rev. John Caspar Lavater (1787-1801)

1800

Print made by William Blake, 1757–1827

Thomas Hayley (1780-1800)

1800

William Blake, 1757–1827

Publius Virgilius Maro

1821

Print made by William Blake, 1757–1827

Thomas Hayley (1780-1800)

1800

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 16, "The Traveller hasteth in the Evening"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 19, "To The Accuser . . . ." (Bentley 21)

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 6, "Air"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 7, "Fire"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 8, "At length for hatching ripe he breaks the shell"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 14, "Does thy God O Priest take such vengeance as this?"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 17, "Death's Door"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 18, "I have said to the Worm . . . ."

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 2, Frontispiece, "What is Man!"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 20, "He meets his Saviour in the Grave . . . . "

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 3, "I found him beneath a Tree"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 4, "Water"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 5, "Earth"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 9, "Alas!"

1826

William Blake, 1757–1827

pl. 1: The Circle of the Lustful [' ...and like a corpse fell to the ground' Hell; Canto v. line 137.]

1827

William Blake, 1757–1827

Pl. 2: Ciampolo Tormented by the Devils ['...seiz'd on his arm, / And mangled bore away the sinewy part.' Hell; Canto xxii. line 70.]

1827

William Blake, 1757–1827

Pl. 4: The Six-Footed Serpent Attacking Agnolo Brunelleschi ['...lo! a serpent with six feet/ Springs forth on one,'Hell; Canto xxv. line 45.]

1827

William Blake, 1757–1827

Pl. 5: A Serpent Attacking Buoso Donata ['...He ey'd the serpent and the serpent him.' Hell; Canto xxv. line 82.]

1827

William Blake, 1757–1827

Pl. 6: The Pit of Disease ['...Then two I mark'd that sat Propp'd 'gainst each other,' Hell; Canto xxix. line 71.]

1827

William Blake Pl. 7: The Circle of Traitors: Dante Striking Against Bocca degli Abati ['...'Wherefore dost bruise me?' weeping he/ exclaim'd.' Hell; Canto xxxii. line 79.]

William Blake, 1757–1827

Pl. 7: The Circle of Traitors: Dante Striking Against Bocca degli Abati ['...'Wherefore dost bruise me?' weeping he/ exclaim'd.' Hell; Canto xxxii. line 79.]

1827

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 1, Title Page

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 10, "My son! my Son!"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 11, "I want! I want!"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 12, "Help! Help!"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 13, "Aged Ignorance"

1826

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Plate 15, "Fear & hope are -- Vision"

1826

William Blake, 1757–1827

Pl. 3: Baffled Devils Fighting [' ... so turn'd/ His talons on his comrade.' Hell; Canto xxii. line 135]

1827

William Blake, 1757–1827

Illustrations to Dante's Divine Comedy

1827

Print made by William Blake, 1757–1827

William Cowper, Author of "The Task"

1802

Print made by William Blake, 1757–1827

The Life, and Posthumous Writings, of William Cowper, (volume 1)

1803-1804

Print made by William Blake, 1757–1827

The Peasants' Nest: Cowper's tame Hares

1802

Print made by William Blake, 1757–1827

William Cowper

1803-1804

Print made by William Blake, 1757–1827

Mrs Cowper Mother of the Poet

1803-1804

Henry Ryall, 1811–1867

The Right Hon'ble James, Lord de Saumarez, G.C.B.K.S

1840

Francesco Bartolozzi, 1728–1815

Certificate Of The Royal Academy Of Arts Appointing Henry Perronet Briggs To Be An Associate, November 7, 1825

1825

Francesco Bartolozzi, 1728–1815

Certificate Of The Royal Academy Of Arts Appointing Henry Perronet Briggs To Be An Associate, November 7, 1825

1825

Francesco Bartolozzi, 1728–1815

Peasants Going to Market

1802

Print made by George Cooke, 1781–1834

Gledhow

1816

Print made by William Bernard Cooke, 1778–1855

Weymouth

1814-1826

Print made by William Bernard Cooke, 1778–1855

Lulworth Cove, Dorset

1811-1812

Print made by William Bernard Cooke, 1778–1855

Lulworth Cove, Dorset

1814

Print made by William Bernard Cooke, 1778–1855

Margate

1823

Print made by William Miller, 1796–1882

Clovelly Bay and Lundy Island

1824

Print made by Robert Wallis, 1794–1878

Ramsgate

1814 to 1826

Print made by George Cooke, 1781–1834

Hythe, Kent

1824

Print made by George Cooke, 1781–1834

Hythe, Kent

1824

Print made by Edward Goodall, 1795–1870

Boscastle, Cornwall

1814 to 1826

Print made by William Miller, 1796–1882

Coombe-Martin, Devonshire

1814 to 1826

Print made by William Miller, 1796–1882

Portsmouth, Hampshire

1825

Print made by Edward Goodall, 1795–1870

Boscastle, Cornwall

1814 to 1826

Print made by George Cooke, 1781–1834

Brighton

1814 to 1826

Print made by George Cooke, 1781–1834

Brighton

1825

Print made by Robert Wallis, 1794–1878

Folkstone, Kent

1814 to 1826

Print made by Robert Wallis, 1794–1878

Folkstone, Kent

1826

Print made by Robert Wallis, 1794–1878

Folkstone, Kent

1825

Print made by Edward Goodall, 1795–1870

Mount Edgecomb, Devonshire

1814 to 1826

Print made by George Cooke, 1781–1834

Dover from Shakespeare's Cliff

1826

Print made by George Cooke, 1781–1834

Dover from Shakespeare's Cliff

1826

Print made by George Cooke, 1781–1834

Dover from Shakespeare's Cliff

1826

Print made by John Horsburgh, 1791–1869

Whitstable, Kent

1814 to 1826

Print made by George Cooke, 1781–1834

Dover from Shakespeare's Cliff

1826

Print made by William Bernard Cooke, 1778–1855

The Observatory at Rosehill, Sussex

1816

Print made by William Bernard Cooke, 1778–1855

The Vale of Ashburnham

1816

Print made by William Bernard Cooke, 1778–1855

Vale of Heathfield, Sussex

1818

Print made by William Bernard Cooke, 1778–1855

Crowhurst, Sussex

1816

Print made by William Bernard Cooke, 1778–1855

Bodiham Castle, Sussex

1817

Print made by William Bernard Cooke, 1778–1855

Plymouth Citadel

1821

Print made by William Bernard Cooke, 1778–1855

Dartmoor; Source of the Tamar and the Torridge

1816

Print made by William Bernard Cooke, 1778–1855

Bodiham Castle, Sussex

1817

Print made by Samuel Rawle, 1771–1860

Raby Castle, County of Durham

1820

Print made by Samuel Rawle, 1771–1860

Hylton Castle, County of Durham

1820

Print made by John Pye, 1782–1874

The Rialto, Venice

1818-1820

Print made by John Pye, 1782–1874

The Rialto, Venice

1818-1820

Print made by John Pye, 1782–1874

The Rialto, Venice

1818-1820

Print made by James C. Allen, active 1821–1831

Ivy Bridge, Devonshire

1816

Print made by Samuel Rawle, 1771–1860

Gibside, County of Durham

1819

Print made by John Landseer, 1769–1852

Cascade of Terni

1818-1820

Print made by George Cooke, 1781–1834

The Roman Forum from the Tower of the Capitol

1818-1820

Print made by William Miller, 1796–1882

An Old Manor House

1834

Print made by Robert Wallis, 1794–1878

Tornaro

1834

Print made by Edward Goodall, 1795–1870

St. Pierre's Cottage

1834

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Materials & Techniques line engraving

On-site Access Accessible by appointment in the Study Room

Period 19th century

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Materials & Techniques line engraving

On-site Access Accessible by appointment in the Study Room

Period 19th century

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