America. A Prophecy, Plate 11, "Sound! Sound! My Loud War-Trumpets...."
1793
110
Print made by William Blake, 1757–1827
America. A Prophecy, Plate 10, "The Terror Answered...."
1793
111
Print made by William Blake, 1757–1827
America. A Prophecy, Plate 14, "So Cried He...."
1793
112
Print made by William Blake, 1757–1827
America. A Prophecy, Plate 9, "In Thunders Ends the Voice...."
1793
113
Print made by William Blake, 1757–1827
Jerusalem, Plate 62, "Repose on me...."
1804 to 1820
114
Print made by William Blake, 1757–1827
Jerusalem, Plate 92, "What do I see!...."
1804 to 1820
115
Print made by William Blake, 1757–1827
Jerusalem, Plate 97, "Awake! Awake Jerusalem...."
1804 to 1820
116
Print made by William Blake, 1757–1827
Jerusalem, Plate 81, "I have mockd those...."
1804 to 1820
117
Print made by William Blake, 1757–1827
Jerusalem, Plate 76
1804 to 1820
118
Print made by William Blake, 1757–1827
Jerusalem, Plate 6, "His Spectre driv'n...."
1804 to 1820
119
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
120
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
121
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
122
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
123
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
124
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
125
William Blake, 1757–1827
The Parable of the Wise and Foolish Virgins
ca. 1825
126
William Blake, 1757–1827
Mary Magdalen at the Sepulchre
ca. 1805
127
John Frederick Lewis, 1804–1876
Seated Turk
between 1840 and 1841
128
John Frederick Lewis, 1804–1876
A Frank Encampment in the Desert of Mount Sinai. 1842 - The Convent of St. Catherine in the Distance
1856
129
John Frederick Lewis, 1804–1876
Study of a Lioness
ca. 1824
130
James Jefferys, 1751–1784
Self-Portrait
between 1771 and 1775
131
Richard Parkes Bonington, 1802–1828
Portia and Bassanio
ca. 1826
132
James Ward, 1769–1859
A Human Skeleton
undated
133
James Ward, 1769–1859
A Human Skeleton
undated
134
George Fennell Robson, 1788–1833
Tryfan, Carnarvonshire
1826
135
William Haygarth, active 1810–1816
Crater of Vesuvius
1816
136
John Frederick Lewis, 1804–1876
Sheik Hussein of Gebel Tor and His Son
between 1842 and 1843
137
John Frederick Lewis, 1804–1876
Study of a Lion and Study of a Lioness' Head
ca. 1820
138
James Barry, 1741–1806
The Phoenix or the Resurrection of Freedom
1776
139
James Barry, 1741–1806
King Lear and Cordelia, Act V, Scene 10
1776
140
Print made by Conrad Gessner, 1764–1826
Cavalry Charging
1801
141
John Hamilton Mortimer, 1740–1779
Lear, from King Lear, Act III, Scene ii
1776
142
John Hamilton Mortimer, 1740–1779
Caliban, from The Tempest
1775
143
Thomas Girtin, 1775–1802
Jedburgh Abbey from the South East
1800
144
Print made by James Caldwall, 1739–1819
The Blue Passion Flower, 1800, from Robert John Thornton, 'The Temple of Flora', London, 1799-1812
1800
145
Print made by William Ward, 1766–1826
The Dragon Arum, 1801, from Robert John Thornton, the 'Temple of Flora', 1799-1812
December 1, 1801
146
Thomas Daniell, 1749–1840
Two Studies of an Indian Elephant's Head
ca. 1840
147
James Ward, 1769–1859
Study of a Plunging Eagle
undated
148
Thomas Girtin, 1775–1802
Saint Cuthbert's Holy Island
1797
149
David Roberts, 1796–1864
The Great Temple of Amon Karnak, The Hypostyle Hall
1838
150
John Robert Cozens, 1752–1797
The Lake of Albano and Castel Gandolfo
between 1783 and 1785
151
John Sell Cotman, 1782–1842
Castle Acre Priory, Norfolk
ca. 1804
152
Anthony Vandyke Copley Fielding, 1787–1855
A View of Snowdon from the Sands of Traeth Mawr, taken at the Ford Between Pont Aberglaslyn and Tremadoc