Materials & Techniques: line engraving / Period: 19th century / Image Available: Available

Print made after George Stubbs, 1724–1806

Plate X, Fowl Body, Lateral View

1804

Print made after George Stubbs, 1724–1806

Plate VIII, Human Body, Posterior View

1804

Print made by Robert Wallis, 1794–1878

Taj Mahal, Agra

1831

On view at YUAG

after Joseph Mallord William Turner, 1775–1851

Tours - Looking Backward

1833

after Joseph Mallord William Turner, 1775–1851

Hedging and Ditching

1812

after Joseph Mallord William Turner, 1775–1851

Scene in the Campagna

1812

after Joseph Mallord William Turner, 1775–1851

Windsor Castle from Salt Hill

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

Crowhurst

1812

Print made by William Blake, 1757–1827

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

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 19, "To The Accuser . . . ." (Bentley 21)

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 6, "Air"

1826

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 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 16, "The Traveller hasteth in the Evening"

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

Caius Julius Cæsar

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

Epicurus

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 1, Title Page

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 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 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 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 8, "At length for hatching ripe he breaks the shell"

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

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, 1757–1827

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

1827

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

William Blake, 1757–1827

Publius Virgilius Maro

1821

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

M. J. Starling, active 1830

Belvoir Castle, Rutland

1835

Print attributed to B. R. Davies, active ca. 1833

Mount Blanc

ca. 1828

Print made by F. F. Walker, active 1805–1836

Plate 12, The Industrious 'Prentice Lord-Mayor of London

1833

Print made by George Dawe, 1781–1829

Miss Mary Anne Kirkley

1801

Print made by Edward Goodall, 1795–1870

Richmond Hill

1826

Print made by Edward Goodall, 1795–1870

Richmond Hill

1826-1832

Print made by John Pye, 1782–1874

Ehrenbreitstein

1828

Print made by John Pye, 1782–1874

Ehrenbreitstein

1828

Print made by Edward Goodall, 1795–1870

Florence

1827

Print made by Robert Wallis, 1794–1878

Lake Albano

1828

Print made by Robert Wallis, 1794–1878

Lake Albano

1828

Print made by Robert Wallis, 1794–1878

Lake Albano

1828

Print made by Edward Goodall, 1795–1870

Florence

1827

Print made by Robert Wallis, 1794–1878

Lake Albano

1828

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

Lago Maggiore

1828

Print made by Robert Wallis, 1794–1878

Lake Albano

1828

Print made by Robert Wallis, 1794–1878

Virginia Water No. 11

1828-1837

Print made by Robert Wallis, 1794–1878

Saumur

1830

Print made by James T. Willmore, 1800–1863

Nantes

1828-1837

Print made by Robert Wallis, 1794–1878

Havre

1833

Print made by James T. Willmore, 1800–1863

Destruction of Both Houses of Parliament

1835

Print made by Robert Wallis, 1794–1878

Havre

1832

Print made by Edward Goodall, 1795–1870

Florence from the Chiesa al Monte

1831

Print made by James T. Willmore, 1800–1863

The Sea The Sea (vignette)

1836

Print made by Thomas Crostick, active ca. 1828

Fonthill

1829

Print made by Edward Goodall, 1795–1870

Florence from the Chiesa al Monte

1831

Print made by Thomas Crostick, active ca. 1828

Fonthill

1828

Print made by Edward Goodall, 1795–1870

Tivoli, a Composition

1827

Print made by Edward Goodall, 1795–1870

Tivoli, a Composition

1827

J. C. Varrall, active 1815–1827

Walton Bridge on Thames, Surrey

1827-1838

Print made by William Radclyffe, 1780–1855

Eaton College, Berkshire

1831

Print made by James T. Willmore, 1800–1863

Bedford, Bedfordshire

1831

Print made by Thomas Jeavons, ca. 1800–1867

Pembroke Castle, Wales

1831

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

Richmond Hill and Bridge, Surrey

1832

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

Richmond Hill and Bridge, Surrey

1832

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

Richmond Hill and Bridge, Surrey

1832

Print made by Thomas Jeavons, ca. 1800–1867

Pembroke Castle, Wales

1831

Print made by William John Cooke, 1797–1865

Plymouth, Devonshire

1832

Print made by John Horsburgh, 1791–1869

Malvern Abbey and Gate, Worcestershire

1832

Print made by William Miller, 1796–1882

Chatham, Kent

1832

Print made by Robert Wallis, 1794–1878

Margate, Kent

1831

Print made by Robert Wallis, 1794–1878

Warwick Castle, Warwickshire

1832

Print made by Robert Wallis, 1794–1878

Warwick Castle, Warwickshire

1832

Print made by Thomas Jeavons, ca. 1800–1867

Kenilworth Castle, Warwickshire

1832

Print made by Thomas Jeavons, ca. 1800–1867

Kenilworth Castle, Warwickshire

1832

Print made by J. C. Varrall, active 1815–1827

Brinkburn Priory, Northumberland

1832

Print made by J. C. Varrall, active 1815–1827

Brinkburn Priory, Northumberland

1832

Print made by James T. Willmore, 1800–1863

Tamworth Castle, Staffordshire

1832

Print made by J. C. Varrall, active 1815–1827

Brinkburn Priory, Northumberland

1832

Print made by James T. Willmore, 1800–1863

Tamworth Castle, Staffordshire

1832

Print made by J. C. Varrall, active 1815–1827

Brinkburn Priory, Northumberland

1832

Print made by Thomas Jeavons, ca. 1800–1867

Kenilworth Castle, Warwickshire

1832

Print made by William Radclyffe, 1780–1855

Blenheim, Oxfordshire

1833

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Materials & Techniques line engraving

Period 19th century

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Period 19th century

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