Guy, Earl of Warwick, From a Basso Relievio in Warwick Lane
1791
15
Francesco Bartolozzi, 1728–1815
Hebe
1791
16
John Thomas Smith, 1766–1833
Domestic Architecture - N. E. View of an Old House lately Standing in Sweedon's Passage, Grub Street
1791
17
unknown artist
London Stone in Cannon Street
1791
18
unknown artist
Pye Corner, Smithfield
1791
19
unknown artist
A Specimen of Ancient Building (Old houses in King Street)
1791
20
John William Edy, 1760–1820
A View of Westminster Bridge, the Abbey and Church
1791
21
unknown artist
Sion Lodge
1791
22
W. Taylor, active 1790–1810
All's Well... Act III, Sc. V
1791
23
Page, fl. 1784–1803
Taming... Act II, Sc. I
1791
24
John Chapman, active ca. 1792–1823
Black-George
1791
25
Page, fl. 1784–1803
Taming...Act III, Scene I
1791
26
J. Barlow, active 1791
Merchant of Venice, Act III, Sc. I
1791
27
William Ellis, 1747–1810
Hornsey
1791
28
George Isham Parkyns, 1749/50–c.1820
Gateway of the Old Palace at Richmond
1791
29
unknown artist
A Curious Pump
1791
30
Francis Jukes, 1747–1812
North End, Hampstead
1791
31
George Keating, 1762–1842
The Deserter, 29 July 1791
1791
32
George Keating, 1762–1842
The Deserter, 29 July 1791
1791
33
George Keating, 1762–1842
The Deserter, 29 July 1791
1791
34
George Keating, 1762–1842
The Deserter, 29 July 1791
1791
35
Samuel William Reynolds, 1773–1835
A Young Lady
ca. 1796
36
unknown artist
An English Hobby Horse; or, Who Pays the Piper?
1791
37
John William Edy, 1760–1820
A View of Albion Mill on Fire
1791
38
unknown artist
London Stone in Cannon Street
1791
39
unknown artist
A Basso Relievo of a Gardiner. Against Mr. Holylands stables Gardiners Lane, the corner of High Timber Street, is this Sculpture: but why put up, cannot learn. Tradition says the site was once Gardens
1791
40
Francesco Bartolozzi, 1728–1815
Contemplation
1791
41
Francesco Bartolozzi, 1728–1815
George, Prince of Wales
1791
42
unknown artist
Monmouth House, Soho Square
1791
43
unknown artist
A Curious House at Stepney
1791
44
Francesco Bartolozzi, 1728–1815
The Departure of Hagar
1791
45
Francesco Bartolozzi, 1728–1815
A Sacrifice To Diana The Goddess Of Hunting
1791
46
Isaac Cruikshank, 1764–1811
Rehearsal: The Vision of Nantes or the Patriotick Attack of the Troops National
1791
47
Print made by unknown artist
Collection of Prints by Notable Dilettanti
1791
48
William Hincks, 1752–1797
Plate II: View taken near Hillsborough in the County of Downe, Representing Pulling the Flax when grown, Stooking or putting it up to Dry, Ripling or saving the Seed, and Boging or burying it in Water
1791
49
William Hincks, 1752–1797
Plate VII: representing Winding, Warping with a new improved Warping Mill, and Weaving
1791
50
William Hincks, 1752–1797
Plate XII: Perspective View of the Linen Hall in Dublin, with the Boxes and Bales of Linen ready for Exportation, the Emblems of their Industry
1791
51
William Hincks, 1752–1797
Plate III: View taken in the County of Louth Representing taking the Flax out of the Bog when it has lain a sufficient time to seperate the Rind, which is the Flax from the Stem, & strengthen it, spreading it to dry, stoving, beetling, and breaking it
1791
52
William Hincks, 1752–1797
Plate VI: Taken on the Spot in the County of Downe, Representing Spinning, Reeling with the Clock Reel, and Boiling the Yarn
1791
53
William Hincks, 1752–1797
Plate IV: representing the common Method of Beetling, Scutching and Hackling the Flax
1791
54
William Hincks, 1752–1797
Plate VIII: representing the Brown Linen Market at Banbridge, in the County of Downe, The Weavers holding up their Pieces of Linen to View, the Bleachers elevated on Forms examining its Quality
1791
55
William Hincks, 1752–1797
Plate V: A Perspective View of a Scutch Mill, with the Method of Breakng the Flax with groved Rollers, and Scutching it with Blades first on a Shaft, both turn'd by the Main Wheel, Great Improvements in the Method of Braking and Scutching of Flax
1791
56
William Hincks, 1752–1797
Plate XI: A Perspective View of a Lapping Room, with the Measuring, Crisping or Folding the Cloth in Lengths, Picking the Laps or Lengths, Tying the Clips, acting by the Mechanic power of the Laver to press the Cloth round & firm, and Sealing it ..
1791
57
William Hincks, 1752–1797
Plate X: Perspective View of a Bleach Green taken in the County of Downe, Shewing the methods of Wet & Dry Bleaching, and the outside View of a Bleach Mill, on the most approved construction
1791
58
William Hincks, 1752–1797
Plate IX: Perspective View of all the Machinery of a Bleach Mill, upon the Newest and Most approved Constructions, Consisting of the Wash Mill, Rubbing Boards moved by a Crank, and Beetling Engine for Glazing the Cloth, with a View of the Boiling House
1791
59
James Gillray, 1756–1815
Les Trois Magots
1791
60
James Gillray, 1756–1815
French Democrats surprizing the Royal Runaways
1791
61
Jacob C. Schnebbelie, 1760–1792
An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: Painting on the South Side Seberts Tomb
1791
62
Francesco Bartolozzi, 1728–1815
Venus, Adonis with his Hunting Dogs, and Cupid with Bow and Quiver selecting an Arrow