plate etched between 1880 and 1883; impression printed in 1924
2
Print made by Samuel Palmer, 1805–1881
The Sleeping Shepherd
1857
3
Print made by Samuel Palmer, 1805–1881
The Bellman
1879
4
Print made by Samuel Palmer, 1805–1881
The Bellman
1879
5
Print made by Samuel Palmer, 1805–1881
The Cypress Grove
plate etched between ca. 1880 and 1883; impression printed in 1924
6
Print made by Samuel Palmer, 1805–1881
The Homeward Star
etching begun ca. 1880; impression printed in 1924
7
Print made by Samuel Palmer, 1805–1881
The Lonely Tower
1879
8
Print made by Samuel Palmer, 1805–1881
Opening the Fold
1880
9
Print made by Samuel Palmer, 1805–1881
The Vine
1852
10
Print made by Samuel Palmer, 1805–1881
The Lonely Tower
1879
11
Print made by Samuel Palmer, 1805–1881
Moeris and Galatea
1880-1883
12
Print made by Samuel Palmer, 1805–1881
The Sepulchre
between 1880 and 1883
13
Print made by Samuel Palmer, 1805–1881
The Homeward Star
etching begun ca. 1880; impression printed in 1924
14
Print made by Samuel Palmer, 1805–1881
The Homeward Star
begun ca. 1880
15
Print made by Samuel Palmer, 1805–1881
The Homeward Star
etching begun ca. 1880; impression printed in 1924
16
Print made by Samuel Palmer, 1805–1881
The Sepulchre
etching begun ca. 1800; impression printed in 1924
17
Engraved by Joseph Mallord William Turner, 1775–1851
The Deluge
between 1813 and 1823
18
Etched by Joseph Mallord William Turner, 1775–1851
Apuleia in Search of Apuleius
between 1813 and 1823
19
Etched by Joseph Mallord William Turner, 1775–1851
From Spenser's Fairy Queen
1811
20
Etched and engraved by Joseph Mallord William Turner, 1775–1851
Aesacus and Hesperie
1819
21
Etched by Joseph Mallord William Turner, 1775–1851
Procris and Cephalus
1812
22
Etched by Joseph Mallord William Turner, 1775–1851
Apuleia in Search of Apuleius
between 1813 and 1823
23
Joseph Mallord William Turner, 1775–1851
Design for an Illustration for Walter Scott's "Lady of the Lake", Loch Achray
ca. 1832
24
Engraved by William Woollett, 1735–1785
Celadon and Amelia
1766
25
Edward Burne-Jones, 1833–1898
The Land of Beulah
1881
26
George Fennell Robson, 1788–1833
Macbeth and Banquo on the Heath
ca. 1830
27
Sir John Gilbert, 1817–1897
Enter Malvolio, Crossgartered..
1863
28
Print made by Edward Goodall, 1795–1870
The Boy of Egremond
1834
29
Print made by Henry Le Keux, 1787–1868
Abbotsford, Vignette Title
1834
30
Print made by William Miller, 1796–1882
Abbotsford from the Northern Bank of the Tweed
1839
31
Print made by John Pye, 1782–1874
Junction of the Greta and the Tees
1834
32
Print made by Robert Wallis, 1794–1878
Bolton Abbey
1834
33
Print made by Robert Wallis, 1794–1878
Bolton Abbey
1834
34
Print made by James H. Kernot, active early 19th century
Wolf's Hope
1836
35
Print made by William Miller, 1796–1882
Sandy Knowe, or Smailholm Tower
1839
36
Print made by Edward Goodall, 1795–1870
Carlisle
1834
37
Print made by Henry Le Keux, 1787–1868
Abbotsford, Vignette Title
1834
38
Print made by William Miller, 1796–1882
Loch Achray
1834
39
Print made by Edward Goodall, 1795–1870
Carlisle
1834
40
Print made by William Miller, 1796–1882
Dryburgh
1834
41
Print made by William Miller, 1796–1882
Loch Achray
1834
42
Print made by John Pye, 1782–1874
Junction of the Greta and the Tees
1834
43
Print made by William Miller, 1796–1882
Berwick-on-Tweed
1834
44
Thomas Grieve, 1799–1882
Design for Midsummer Night's Dream
undated
45
Print made by Edward Goodall, 1795–1870
Carlisle
1834
46
Print made by William Miller, 1796–1882
Sandy Knowe, or Smailholm Tower (Vignette)
1851
47
Print made by William Miller, 1796–1882
Abbotsford from the Northern Bank of the Tweed
1839
48
Print made by William Woollett, 1735–1785
Celadon and Amelia
1766
49
Print made by William Miller, 1796–1882
Dryburgh Abbey
1834
50
Print made by William Miller, 1796–1882
Loch Achray (Vignette)
1834
51
Print made by John Pye, 1782–1874
Junction of the Greta and the Tees
1834
52
Print made by James H. Kernot, active early 19th century
Wolf's Hope
1843
53
Print made by Edward Goodall, 1795–1870
Bolton Abbey
1834
54
Print made by William Miller, 1796–1882
Sandy Knowe, or Smailholm Tower
1839
55
Print made by William Miller, 1796–1882
Abbotsford from the Northern Bank of the Tweed
1839
56
Print made by John Pye, 1782–1874
Junction of the Greta and the Tees
1834
57
Print made by Edward Goodall, 1795–1870
Carlisle
1834
58
Print made by John Pye, 1782–1874
Junction of the Greta and the Tees
1834
59
Print made by William Miller, 1796–1882
Sandy Knowe, or Smailholm Tower (Vignette)
1839
60
Print made by Edward Goodall, 1795–1870
The Boy of Egremond
1834
61
Print made by Robert Wallis, 1794–1878
Bolton Abbey
1834
62
Print made by William Miller, 1796–1882
Dryburgh Abbey
1834
63
Print made by William Miller, 1796–1882
Loch Achray (Vignette)
1853 reprint
64
Print made by William Miller, 1796–1882
Berwick-on-Tweed
1834
65
Print made by Henry Le Keux, 1787–1868
Abbotsford, Vignette Title
1834
66
Print made by Henry Le Keux, 1787–1868
Abbotsford, Vignette Title
1834, reprinted 1851
67
Rev. William Warren Porter, 1776–1804
Castle of Udolpho
undated
68
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
69
Samuel Howitt, 1756–1822
The Tiger at Bay: an illustration for Captain Thomas Williamson's "Oriental Field Sports"
1807
70
Samuel Howitt, 1756–1822
Going Out in the Morning: an illustration for Captain Thomas Williamson's "Oriental Field Sports"
1807
71
Print made by Edward Goodall, 1795–1870
Carlisle
1834
72
Print made by William Miller, 1796–1882
Berwick-on-Tweed
1834
73
Print made by William Miller, 1796–1882
Loch Achray
1834
74
Print made by John Pye, 1782–1874
Junction of the Greta and the Tees
1834
75
Henry Thomas Alken, 1785–1851
Illustration for R.S. Surtees', "The Analysis of the Hunting Field:" Full Cry: 'Let's Keep the Lead'
undated
76
Print made by George Richmond, 1809–1896
The Fatal Bellman
1827
77
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
78
Henry Thomas Alken, 1785–1851
Illustration for R.S. Surtees', "The Analysis of the Hunting Field": Getting Away: 'Let's Take the Lead'
undated
79
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
80
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
81
Print made by William Miller, 1796–1882
Berwick-on-Tweed
1834
82
Print made by Henry Le Keux, 1787–1868
Abbotsford, Vignette Title
1834
83
Print made by William Miller, 1796–1882
The Rhymer's Glen (Vignette)
1835
84
Print made by Sir Frank Short, 1857–1945
Procris and Cephalus
1885
85
Print made by Thomas Goff Lupton, 1791–1873
Procris and Cephalus
1864
86
Print made by Sir Frank Short, 1857–1945
Aesacus and Hesperie
1896
87
Print made by William Miller, 1796–1882
Dryburgh Abbey
1833
88
Print made by William Miller, 1796–1882
Abbotsford, Large Vignette
1841
89
Richard Earlom, 1743–1822
Thomas King and Sophia Baddely in "The Clandestine Marriage"
1772
90
Print made by William Miller, 1796–1882
Loch Achray
1834
91
Print made by Pellissier & Allen, active late 19th century
Venus and Adonis
1900
92
Print made by Richard Ansdell, 1815–1885
Sleepest or Wakest Thou?
ca. 1853
93
Print made by Sir Frank Short, 1857–1945
Pan and Syrinx
1896
94
Print made by Sir Frank Short, 1857–1945
Pan and Syrinx
1896
95
Print made by Robert Wallis, 1794–1878
Bolton Abbey
1833
96
Print made by Henry Thomas Alken, 1785–1851
The School-Boy
1824
97
Print made by James H. Baker, born 1829
Come Gentle Night: "Romeo and Juliet," Act III, Scene II
between 1839 and 1849
98
unknown artist
Scene from the Inferno Dramatic Landscape
undated
99
unknown artist
Study for the Damned
undated
100
unknown artist
A View of the Valley of Stones, Devon, with a scene in the Tempest, Act 1