Genre: landscape / Image Use: Free to Use / Subject Terms: literary theme

John Atkinson Grimshaw, 1836–1893

"The Lady of Shalott"

ca. 1875

Not on view

Joseph Wright of Derby, 1734–1797

Virgil's Tomb by Moonlight, with Silius Italicus

1779

Not on view

Print made by Samuel Palmer, 1805–1881

Moeris and Galatea

plate etched between 1880 and 1883; impression printed in 1924

Print made by Samuel Palmer, 1805–1881

The Homeward Star

etching begun ca. 1880; impression printed in 1924

Print made by Samuel Palmer, 1805–1881

Opening the Fold

1880

Print made by Samuel Palmer, 1805–1881

The Sleeping Shepherd

1857

Print made by Samuel Palmer, 1805–1881

The Bellman

1879

Print made by Samuel Palmer, 1805–1881

The Bellman

1879

Print made by Samuel Palmer, 1805–1881

The Homeward Star

begun ca. 1880

Print made by Samuel Palmer, 1805–1881

The Lonely Tower

1879

Print made by Samuel Palmer, 1805–1881

The Homeward Star

etching begun ca. 1880; impression printed in 1924

Print made by Samuel Palmer, 1805–1881

The Vine

1852

Print made by Samuel Palmer, 1805–1881

The Lonely Tower

1879

Print made by Samuel Palmer, 1805–1881

The Sepulchre

between 1880 and 1883

Print made by Samuel Palmer, 1805–1881

Moeris and Galatea

1880-1883

Print made by Samuel Palmer, 1805–1881

Opening the Fold

plate etched in 1880; impression printed in 1926

Print made by Samuel Palmer, 1805–1881

Opening the Fold

plate etched in 1880; impression printed in 1920

Etched by Joseph Mallord William Turner, 1775–1851

Apuleia in Search of Apuleius

between 1813 and 1823

Print made by Joseph Mallord William Turner, 1775–1851

The Deluge

between 1813 and 1823

Joseph Mallord William Turner, 1775–1851

Design for an Illustration for Walter Scott's "Lady of the Lake", Loch Achray

ca. 1832

Etched by Joseph Mallord William Turner, 1775–1851

Apuleia in Search of Apuleius

between 1813 and 1823

Print made by Joseph Mallord William Turner, 1775–1851

Aesacus and Hesperie

1819

Etched by Joseph Mallord William Turner, 1775–1851

Procris and Cephalus

1812

Etched by Joseph Mallord William Turner, 1775–1851

From Spenser's Fairy Queen

1811

Print made by Richard Ansdell, 1815–1885

Sleepest or Wakest Thou?

ca. 1853

Print made by Robert Wallis, 1794–1878

Bolton Abbey

1833

Print made by Thomas Goff Lupton, 1791–1873

Procris and Cephalus

1864

Edward Burne-Jones, 1833–1898

The Land of Beulah

1881

Print made by William Miller, 1796–1882

Dryburgh Abbey

1833

Print made by Henry Thomas Alken, 1785–1851

The School-Boy

1824

Print made by James H. Baker, born 1829

Come Gentle Night: "Romeo and Juliet," Act III, Scene II

between 1839 and 1849

Print made by Henry Le Keux, 1787–1868

Abbotsford

1834

Print made by Edward Goodall, 1795–1870

Carlisle

1834

Print made by William Miller, 1796–1882

Dryburgh Abbey

1834

Print made by William Miller, 1796–1882

Berwick-upon-Tweed

1834

Print made by John Pye, 1782–1874

Junction of the Greta and the Tees

1834

Print made by James H. Kernot, 1802–1858

Wolf's Hope

1836

Print made by William Miller, 1796–1882

Abbotsford from the Northern Bank of the Tweed

1839

Print made by William Miller, 1796–1882

Sandy Knowe, or Smailholm Tower

1839

Print made by Henry Le Keux, 1787–1868

Abbotsford

1834

Print made by Edward Goodall, 1795–1870

Carlisle

1834

Print made by William Miller, 1796–1882

Loch Achray

1834

Print made by John Pye, 1782–1874

Junction of the Greta and the Tees

1834

Engraved by William Woollett, 1735–1785

Celadon and Amelia

1766

Henry Thomas Alken, 1785–1851

An Illustration of C.J. Apperley ('Nimrod'), "The Life of a Sportsman": 'A Night Scene with Sir Thomas Mostyn'

1842

Henry Thomas Alken, 1785–1851

Illustration for R.S. Surtees', "The Analysis of the Hunting Field": The Meet: 'With Bright Faces and Merry Hearts'

undated

Henry Thomas Alken, 1785–1851

Illustration for R.S. Surtees', "The Analysis of the Hunting Field:" Full Cry: 'Let's Keep the Lead'

undated

Henry Thomas Alken, 1785–1851

Illustration for R.S. Surtees', "The Analysis of the Hunting Field": The Check: 'What the Devil Do You Do Here..'

undated

Henry Thomas Alken, 1785–1851

Illustration for R.S. Surtees', "The Analysis of the Hunting Field": Getting Away: 'Let's Take the Lead'

undated

Print made by George Richmond, 1809–1896

The Fatal Bellman

1827

Print made by Edward Goodall, 1795–1870

Bolton Abbey

1834

Richard Earlom, 1743–1822

Thomas King and Sophia Baddely in "The Clandestine Marriage"

1772

Print made by William Miller, 1796–1882

Abbotsford

1841

Print made by Sir Frank Short, 1857–1945

Procris and Cephalus

1885

Print made by Edward Goodall, 1795–1870

Carlisle

1834

Print made by William Miller, 1796–1882

Dryburgh Abbey

1834

Print made by William Miller, 1796–1882

Loch Achray

1834

Print made by John Pye, 1782–1874

Junction of the Greta and the Tees

1834

Print made by William Miller, 1796–1882

Berwick-upon-Tweed

1834

Print made by Henry Le Keux, 1787–1868

Abbotsford

1834

Print made by William Miller, 1796–1882

The Rhymer's Glen

1835

Print made by James H. Kernot, 1802–1858

Wolf's Hope

1843

Print made by William Miller, 1796–1882

Sandy Knowe, or Smailholm Tower

1851

Print made by William Miller, 1796–1882

Abbotsford from the Northern Bank of the Tweed

1839

Print made by William Woollett, 1735–1785

Celadon and Amelia

1766

Print made by Pellissier & Allen, active late 19th century

Venus and Adonis

1900

Print made by William Miller, 1796–1882

Loch Achray

1834

George Fennell Robson, 1788–1833

Macbeth and Banquo on the Heath

ca. 1830

Print made by William Miller, 1796–1882

Loch Achray

1834

Sir John Gilbert, 1817–1897

Enter Malvolio, Crossgartered..

1863

Thomas Grieve, 1799–1882

Design for Midsummer Night's Dream

undated

Print made by Robert Wallis, 1794–1878

Bolton Abbey

1834

Print made by Edward Goodall, 1795–1870

The Boy of Egremond

1834

Print made by Robert Wallis, 1794–1878

Bolton Abbey

1834

Guillaume Philippe Benoist Pamela, being now in the custody of Mrs. Jenkes, seizes an occasion (as they are walking in the garden) to propose a Correspondence with Mr. Williams in order to contrive an Escape, who agree to hide their letters between two tiles near the Sunflower

Print made by Guillaume Philippe Benoist, 1725–ca. 1770

Pamela, being now in the custody of Mrs. Jenkes, seizes an occasion (as they are walking in the garden) to propose a Correspondence with Mr. Williams in order to contrive an Escape, who agree to hide their letters between two tiles near the Sunflower

1745