Collection: Prints and Drawings / Period: 18th century / Subject Terms: clouds

William Hogarth, 1697–1764

Study for the Foundlings

ca. 1739

Joseph Mallord William Turner, 1775–1851

View of Ely Cathedral

ca. 1796

Joseph Mallord William Turner, 1775–1851

Christ Church Gate, Canterbury

1793 to 1794

Joseph Mallord William Turner, 1775–1851

A Great Tree

ca. 1796

Joseph Mallord William Turner, 1775–1851

In the Valley Near Vietri

ca. 1794

Joseph Mallord William Turner, 1775–1851

Near Grindelwald

ca. 1796

Joseph Mallord William Turner, 1775–1851

St. Augustine's Gate, Canterbury

between 1792 and 1793

Joseph Mallord William Turner, 1775–1851

Windsor

ca. 1798

Joseph Mallord William Turner, 1775–1851

North East View of Grantham Church, Lincolnshire

ca. 1797

Joseph Mallord William Turner, 1775–1851

Evening Landscape with Castle and Bridge in Yorkshire

between 1798 and 1799

Joseph Mallord William Turner, 1775–1851

Landscape with Trees and Figures

ca. 1796

Print made by William Blake, 1757–1827

The Christian Triumph; Title Page

ca. 1797

Print made by William Blake, 1757–1827

'Swift on His Downy Pinion Flies from Woe' (Page 1)

ca. 1797

Print made by William Blake, 1757–1827

'As if the sun could envy, check'd his beam' (Page 49)

ca. 1797

Print made by William Blake, 1757–1827

'One radiant mark, – the death-bed of the just' (Page 41)

ca. 1797

Print made by William Blake, 1757–1827

The Chimney Sweeper (Plate 45)

1794

Print made by William Blake, 1757–1827

'Teaching, we learn; and giving, we retain' (Page 35)

ca. 1797

Print made by William Blake, 1757–1827

Infant Joy (Plate 28)

1789

William Blake, 1757–1827

Visions, Frontispiece (Plate 1)

1793

William Blake, 1757–1827

Title Page, Visions of the Daughters of Albion (Plate 2)

1793

William Blake, 1757–1827

Visions. "Enslav'd, the Daughters of Albion weep..." (Plate 4)

1793

Print made by William Blake, 1757–1827

Title Page. America, A Prophecy (Plate 2)

1793

Print made by William Blake, 1757–1827

"Appear to the Americans upon the cloudy night..." (Plate 6)

1793

William Blake, 1757–1827

"Headlong, from the mountain's height, Deep in the roaring tide he plung'd to endless night." (Design 65)

between 1797 and 1798

William Blake, 1757–1827

Elizabeth. "Girt with many a Baron bold..." (Design 63)

between 1797 and 1798

William Blake, 1757–1827

"O'er thy country hangs The scourge of Heav'n..." (Design 59)

between 1797 and 1798

Print made by William Blake, 1757–1827

'The Sun beheld it – No, the shocking scene' (Page 75)

1797

William Blake, 1757–1827

"Oft did the harvest to their sickle yield..." (Design 109)

between 1797 and 1798

William Blake, 1757–1827

"Leaning from her golden cloud, The venerable Marg'ret see!..." (Design 99)

between 1797 and 1798

William Blake, 1757–1827

"A wond'rous boy shall Rinda bear, Who ne'er shall comb his raven hair..." (Design 83)

between 1797 and 1798

Print made by William Blake, 1757–1827

'Teaching, we learn; and giving, we retain' (Page 35)

1797

Print made by William Blake, 1757–1827

Air; Plate 6

1793

Print made by William Blake, 1757–1827

At Length for Hatching Ripe He Breaks the Shell; Plate 8

1793

Print made by William Blake, 1757–1827

Help! Help!; Plate 12

1793

Print made by William Blake, 1757–1827

'His hand the good man fastens on the skies' (Page 86)

ca. 1797

Print made by William Blake, 1757–1827

Chapter V, "Two Nostrils bent down to the deep..." (Plate 11)

1794

Print made by William Blake, 1757–1827

'The Sun beheld it – No, the shocking scene' (Page 75)

ca. 1797

Print made by William Blake, 1757–1827

Introduction (Plate 34)

1794

William Blake, 1757–1827

"But when the morn arose, her lamentation renewd..." (Plate 8)

1793

Print made by William Blake, 1757–1827

Chapter V, "Two Nostrils bent down to the deep..." (Plate 16)

1794

Print made by William Blake, 1757–1827

"The shrill winds wake!..." (Plate 6)

1794

Print made by William Blake, 1757–1827

"Albions Angel rose upon the Stone of Night..." (Plate 12)

1794

Print made by William Blake, 1757–1827

"Arise 'O Rintrah eldest born..." (Plate 9)

1794

Print made by William Blake, 1757–1827

"Unwilling I look up to heaven! unwilling count the stars!..." (Plate 4)

1794

Print made by William Blake, 1757–1827

The Lamb (Plate 8)

1789

William Blake, 1757–1827

A Genius Driving Away "Comus & his midnight-crew..." (Design 95)

between 1797 and 1798

Print made by William Blake, 1757–1827

The Christian Triumph; Title Page

1797

Print made by William Blake, 1757–1827

'His hand the good man fastens on the skies' (Page 86)

1797

William Blake, 1757–1827

A Shepherd Reading the Epitaph (Design 115)

between 1797 and 1798

Print made by William Blake, 1757–1827

'Time, in advance, behind him hides his wings' (Page 24)

1797

Print made by William Blake, 1757–1827

'Swift on his downy pinion flies from woe' (Page 1)

1797

Print made by William Blake, 1757–1827

'One radiant mark, – the death-bed of the just' (Page 41)

1797

Print made by William Blake, 1757–1827

'As if the sun could envy, check'd his beam' (Page 49)

1797

Print made by William Blake, 1757–1827

Frontispiece. Albion's Angel (Plate 1)

1793

Print made by William Blake, 1757–1827

"The Terror Answered: I am Orc, wreath'd round the accursed tree..." (Plate 10)

1793

Print made by William Blake, 1757–1827

Fiery the Angels rose, & as they rose deep thunder roll'd..." (Plate 13)

1793

Print made by William Blake, 1757–1827

"In the flames stood & view'd the armies drawn out in the sky..." (Plate 16)

1793

Print made by William Blake, 1757–1827

"The morning comes, the night decays, the watchmen leave their stations..." (Plate 8)

1793

William Blake, 1757–1827

Moses Receiving the Law

ca. 1780

William Blake, 1757–1827

Satan Approaching the Court of Chaos

1784 to 1785

George Romney, 1734–1802

Miranda, Prospero, and Caliban: The Tempest

undated

George Romney, 1734–1802

Aerial Group: The Tempest

undated

George Romney, 1734–1802

A Procession of the Damned: Study for the Damned in Dante's "Inferno"

undated

George Romney, 1734–1802

Shepherdess Cutting an Inscription on a Tree

undated

William Marlow, 1740–1813

Nîmes from the Tour Magne

ca. 1765

Jacob More, 1740–1793

A View at Terracina

1778

John Nixon, ca. 1760–1818

Eastbourne from Lord G.: Cavendish's Seat in the Park

1787

Mary Harcourt, 1750–1833

On the Rhone

ca. 1780

Print made by John Raphael Smith, 1752–1812

The Infant Jupiter

1775

Print made by Charles Howard Hodges, 1764–1837

Guardian Angels

1786

Thomas Bowles III, ca. 1712–1767

A View of the Stadt House, New Church, Weighing House, and the adjacent Buildings at Amsterdam

undated

Pierre Charles Canot A Ship in Distress. Design'd to represent the loss of the Victory by a violent Storm near the Race of Alderney in the Year 1744. Sr. John Balchen the Admiral, & upwards of 1000 Men were on board & unhappily perish'd in the Waves

Pierre Charles Canot, ca. 1710–1777

A Ship in Distress. Design'd to represent the loss of the Victory by a violent Storm near the Race of Alderney in the Year 1744. Sr. John Balchen the Admiral, & upwards of 1000 Men were on board & unhappily perish'd in the Waves

Print made by Thomas Bowles III, ca. 1712–1767

The Church of St. Mary Le Bow in Cheapside London

Print made by John Robert Cozens, 1752–1797

Spruce Fir

1789

John Collet, ca. 1725–1780

Stable Boy Holding a Horse in a Landscape

undated

unknown artist

Panoramic View with Two Horsemen by a Jump, Sept. 30, 1713 (? 1718)

between 1713 and 1718

Print made by John Harris, active 1686–1740

The Barfleur a Second Rate, carrying 90 Guns, and 680 Men, with a View of the Squadron Commanded by Lord Torrington in the Mediterranean

Print made by John Robert Cozens, 1752–1797

Oak

1789

Nathaniel Parr A View of the Doge's Palace at Venice with the Grand landing place before it. The Prison on the right hand the Custom House and Entrance of the Grand Canal in front

Print made by Nathaniel Parr, active 1742–1751

A View of the Doge's Palace at Venice with the Grand landing place before it. The Prison on the right hand the Custom House and Entrance of the Grand Canal in front

between 1780-1815