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William Hogarth Album Collection of Sixty-six Engravings after William Hogarth

after William Hogarth, 1697–1764

Album Collection of Sixty-six Engravings after William Hogarth

Joseph Mallord William Turner [One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc.

after Joseph Mallord William Turner, 1775–1851

[One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc

Joseph Mallord William Turner [One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc.

after Joseph Mallord William Turner, 1775–1851

[One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc

Joseph Mallord William Turner [One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc.

after Joseph Mallord William Turner, 1775–1851

[One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc

Joseph Mallord William Turner [One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc.

after Joseph Mallord William Turner, 1775–1851

[One from] 158 reproductions of works by JMW Turner consisting of chromolithographs, photogravures, etc

William Blake Job and his Family

Print made by William Blake, 1757–1827

Job and his Family

1826

William Blake Job's Comforters

Print made by William Blake, 1757–1827

Job's Comforters

1826

William Blake The Messengers Tell Job of His Misfortunes

Print made by William Blake, 1757–1827

The Messengers Tell Job of His Misfortunes

1826

William Blake Satan Going Forth from the Presence of the Lord and Job's Charity

Print made by William Blake, 1757–1827

Satan Going Forth from the Presence of the Lord and Job's Charity

1826

William Blake Job Rebuked by His Friends

Print made by William Blake, 1757–1827

Job Rebuked by His Friends

1826

William Blake Job's Evil Dreams

Print made by William Blake, 1757–1827

Job's Evil Dreams

1826

William Blake When the Morning Stars Sang Together

Print made by William Blake, 1757–1827

When the Morning Stars Sang Together

1826

William Blake The Vision of Christ

Print made by William Blake, 1757–1827

The Vision of Christ

1826

William Blake Job's Sacrifice

Print made by William Blake, 1757–1827

Job's Sacrifice

1826

William Blake Satan before the Throne of God

Print made by William Blake, 1757–1827

Satan before the Throne of God

1826

William Blake Job's Sons and Daughters Overwhelmed by Satan

Print made by William Blake, 1757–1827

Job's Sons and Daughters Overwhelmed by Satan

1826

William Blake Satan Smiting Job with Sore Boils

Print made by William Blake, 1757–1827

Satan Smiting Job with Sore Boils

1826

William Blake Job's Despair

Print made by William Blake, 1757–1827

Job's Despair

1826

William Blake The Vision of Eliphaz

Print made by William Blake, 1757–1827

The Vision of Eliphaz

1826

William Blake The Wrath of Elihu

Print made by William Blake, 1757–1827

The Wrath of Elihu

1826

William Blake The Lord Answering Job out of the Whirlwind

Print made by William Blake, 1757–1827

The Lord Answering Job out of the Whirlwind

1826

William Blake Behemoth and Leviathan

Print made by William Blake, 1757–1827

Behemoth and Leviathan

1826

William Blake Every One also Gave Him a Piece of Money

Print made by William Blake, 1757–1827

Every One also Gave Him a Piece of Money

1826

William Blake Job and His Daughters

Print made by William Blake, 1757–1827

Job and His Daughters

1826

William Blake The Fall of Satan

Print made by William Blake, 1757–1827

The Fall of Satan

1826

William Blake Job and His Family Restored to Prosperity

Print made by William Blake, 1757–1827

Job and His Family Restored to Prosperity

1826

William Blake The Life, and Posthumous Writings, of William Cowper (volume 2)

Print made by William Blake, 1757–1827

The Life, and Posthumous Writings, of William Cowper (volume 2)

1803-1804

William Blake A Corrected and Revised Map of the Country of Allestone

Attributed to William Blake, 1757–1827

A Corrected and Revised Map of the Country of Allestone

1806

William Blake Love Songs, Class I. Headpiece

Print made by William Blake, 1757–1827

Love Songs, Class I. Headpiece

1783

William Blake Drinking Songs, Tailpiece

Print made by William Blake, 1757–1827

Drinking Songs, Tailpiece

1783

William Blake Ancient Ballads, Tailpiece

Print made by William Blake, 1757–1827

Ancient Ballads, Tailpiece

1783

William Blake Love Songs, Class II. Tailpiece

Print made by William Blake, 1757–1827

Love Songs, Class II. Tailpiece

1783

William Blake Love Songs, Class III. Tailpiece

Print made by William Blake, 1757–1827

Love Songs, Class III. Tailpiece

1783

William Blake Love Songs, Class IV. Headpiece

Print made by William Blake, 1757–1827

Love Songs, Class IV. Headpiece

1783

William Blake Love Songs, Class IV. Tailpiece

Print made by William Blake, 1757–1827

Love Songs, Class IV. Tailpiece

1783

William Blake Drinking Songs, Headpiece

Print made by William Blake, 1757–1827

Drinking Songs, Headpiece

1783

William Blake Love Songs, Class I. Tailpiece

Print made by William Blake, 1757–1827

Love Songs, Class I. Tailpiece

1783

William Blake Love Songs, Class II. Headpiece

Print made by William Blake, 1757–1827

Love Songs, Class II. Headpiece

1783

William Blake Love Songs, Class III. Headpiece

Print made by William Blake, 1757–1827

Love Songs, Class III. Headpiece

1783

William Blake Love Songs, Class V. Headpiece

Print made by William Blake, 1757–1827

Love Songs, Class V. Headpiece

1783

William Blake Miscellaneous Songs, Headpiece

Print made by William Blake, 1757–1827

Miscellaneous Songs, Headpiece

1783

William Blake Miscellaneous Songs, Tailpiece

Print made by William Blake, 1757–1827

Miscellaneous Songs, Tailpiece

1783

William Blake Ancient Ballads, Headpiece

Print made by William Blake, 1757–1827

Ancient Ballads, Headpiece

1783

William Blake Canto V. Verse 43

Print made by William Blake, 1757–1827

Canto V. Verse 43

1803

William Blake Canto I. Verse 29

Print made by William Blake, 1757–1827

Canto I. Verse 29

1803

William Blake Canto IV. Verse 328

Print made by William Blake, 1757–1827

Canto IV. Verse 328

1803

William Blake Canto II. Verse 471

Print made by William Blake, 1757–1827

Canto II. Verse 471

1803

William Blake Canto III. Verse 201

Print made by William Blake, 1757–1827

Canto III. Verse 201

1803

William Blake Canto VI. Verse 294

Print made by William Blake, 1757–1827

Canto VI. Verse 294

1803

William Blake Sketch of a Shipwreck after Romney

Print made by William Blake, 1757–1827

Sketch of a Shipwreck after Romney

1809

William Blake Illustrations to Dante's Divine Comedy

Prints made by William Blake, 1757–1827

Illustrations to Dante's Divine Comedy

1827

George Romney Italian Sketchbook

George Romney, 1734–1802

Italian Sketchbook

1773

George Romney Ms. notes

George Romney, 1734–1802

Ms. notes

undated

George Romney Mother and Child

George Romney, 1734–1802

Mother and Child

undated

George Romney Figure Study

George Romney, 1734–1802

Figure Study

undated

George Romney Sketch of a Lady

George Romney, 1734–1802

Sketch of a Lady

undated

George Romney Standing Figure of a Woman (Psyche)

George Romney, 1734–1802

Standing Figure of a Woman (Psyche)

undated

George Romney Old Maids

George Romney, 1734–1802

Old Maids

undated

George Romney Sketch

George Romney, 1734–1802

Sketch

undated

Rev. William Gilpin The same idea is continued, only the atmosphere is somewhat more hazy (Design for Plate 6)

Rev. William Gilpin, 1724–1804

The same idea is continued, only the atmosphere is somewhat more hazy (Design for Plate 6)

undated

Rev. William Gilpin The Sun is obscured, and the atmosphere inclines to rain (Design for Plate 10)

Rev. William Gilpin, 1724–1804

The Sun is obscured, and the atmosphere inclines to rain (Design for Plate 10)

undated

Rev. William Gilpin As it is now high noon, which always affords an unfavourable light to the painter ... It here shines wanly and hazily upon the cliffs (Design for Plate 12)

Rev. William Gilpin, 1724–1804

As it is now high noon, which always affords an unfavourable light to the painter ... It here shines wanly and hazily upon the cliffs (Design for Plate 12)

undated

Rev. William Gilpin The effect here intended, is that of reflection of a bright sky on the water, when the Sun itself is obscured (Design for Plate 11)

Rev. William Gilpin, 1724–1804

The effect here intended, is that of reflection of a bright sky on the water, when the Sun itself is obscured (Design for Plate 11)

undated

Rev. William Gilpin These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 19)

Rev. William Gilpin, 1724–1804

These subjects are all instances of Landscapes under meridian Suns, chastised by different degrees of mist, and cloudy weather (Design for Plate 19)

undated

Rev. William Gilpin The idea of a calm, freaky Sun-set upon a lake (Design for Plate 28)

Rev. William Gilpin, 1724–1804

The idea of a calm, freaky Sun-set upon a lake (Design for Plate 28)

undated

Rev. William Gilpin A calm Sun-set; the Sun is supposed to be setting behind the rising ground on which the ruin stands (Design for Plate 27)

Rev. William Gilpin, 1724–1804

A calm Sun-set; the Sun is supposed to be setting behind the rising ground on which the ruin stands (Design for Plate 27)

undated

Rev. William Gilpin The Sun is now set, and the evening closes in, but rather wild, and lowering (Design for Plate 29)

Rev. William Gilpin, 1724–1804

The Sun is now set, and the evening closes in, but rather wild, and lowering (Design for Plate 29)

undated

Rev. William Gilpin The mild effusions of evening light, which pervade the three last Landscapes, are here changed into a wild, turbid sky, prognosticating a storm (Design for Plate 26)

Rev. William Gilpin, 1724–1804

The mild effusions of evening light, which pervade the three last Landscapes, are here changed into a wild, turbid sky, prognosticating a storm (Design for Plate 26)

undated

William Havell [One from a group of views] Thames and South Coast

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

William Havell [One from a group of views] Thames and South Coast

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

Rev. William Gilpin The evening glow now pervades the Landscape strongly (Design for Plate 25)

Rev. William Gilpin, 1724–1804

The evening glow now pervades the Landscape strongly (Design for Plate 25)

undated

Rev. William Gilpin Here the evening closes in more mildly. The Sun leaves only a faint light on the sky, but without the power of touching even the highest objects with its light (Design for Plate 30)

Rev. William Gilpin, 1724–1804

Here the evening closes in more mildly. The Sun leaves only a faint light on the sky, but without the power of touching even the highest objects with its light (Design for Plate 30)

undated

William Havell [One from a group of views] Thames and South Coast

William Havell, 1782–1857

[One from a group of views] Thames and South Coast

1822

unknown artist No.4, The Parson of Clerk Rock, Part of the Warren, Babbacombe and Hills Towards Torquay, Taken from the Beacon

unknown artist

No.4, The Parson of Clerk Rock, Part of the Warren, Babbacombe and Hills Towards Torquay, Taken from the Beacon

1815-1816

unknown artist No.7, The Lime Kilns and Mr. Williamson's House, Returning from the Rocks

unknown artist

No.7, The Lime Kilns and Mr. Williamson's House, Returning from the Rocks

1815-1816

Thomas Oldham Barlow The Festival of the Vintage

Print made by Thomas Oldham Barlow, 1824–1889

The Festival of the Vintage

1856

Peter Simon As You Like It: Act V Scene IV: Rosalind and Orlando

Peter Simon, 1750–1810

As You Like It: Act V Scene IV: Rosalind and Orlando

1791

Charles Grignion History of England, Subscription Receipt

Print made by Charles Grignion, 1717–1810

History of England, Subscription Receipt

1750

Henry Cave York Minister

Henry Cave, 1780–1836

York Minister

ca. 1813

Henry Cave York Minister

Henry Cave, 1780–1836

York Minister

ca. 1813

Henry Cave York Minister

Henry Cave, 1780–1836

York Minister

ca. 1813

Henry Cave York Minister

Henry Cave, 1780–1836

York Minister

ca. 1813

Henry Cave York Minister

Henry Cave, 1780–1836

York Minister

ca. 1813

Henry Cave York Minister

Henry Cave, 1780–1836

York Minister

ca. 1813

Henry Cave York Minister

Henry Cave, 1780–1836

York Minister

ca. 1813

Walter Sneyd Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Rev. William Gilpin The Sun here gets more force, and beams along the surface of the ground; but the Day is setting in cloudy, and obscure (Design for Plate 3)

Rev. William Gilpin, 1724–1804

The Sun here gets more force, and beams along the surface of the ground; but the Day is setting in cloudy, and obscure (Design for Plate 3)

undated

Rev. William Gilpin The Sun still gets more power, and objects begin to appear more distinctly (Design for Plate 4)

Rev. William Gilpin, 1724–1804

The Sun still gets more power, and objects begin to appear more distinctly (Design for Plate 4)

undated

Walter Sneyd Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd Sneyd's Illustrations to [Henry Fielding's] Tom Jones

Walter Sneyd, 1809–1888

Sneyd's Illustrations to [Henry Fielding's] Tom Jones

unknown artist No.6, The Lime Kilns and Country towards Littleham, Taken near Exmouth

unknown artist

No.6, The Lime Kilns and Country towards Littleham, Taken near Exmouth

1815-1816

unknown artist No.9, The Milk House, Warren, etc. Returning to Exmouth

unknown artist

No.9, The Milk House, Warren, etc. Returning to Exmouth

1815-1816

unknown artist No.20, Berry Head, Parson of Clerk Rock etc., Taken from Dawlish

unknown artist

No.20, Berry Head, Parson of Clerk Rock etc., Taken from Dawlish

1815-1816

unknown artist No.17, The Rocks, towards Salterton, Taken near the Windmill, Exmouth

unknown artist

No.17, The Rocks, towards Salterton, Taken near the Windmill, Exmouth

1815-1816

unknown artist Lympstone, Mr. Hornell's House and Farm, The Embankment

unknown artist

Lympstone, Mr. Hornell's House and Farm, The Embankment

1815-1816

Thomas Ryder Midsummer Night's Dream: Act IV, Scene I

after Thomas Ryder, 1746–1810

Midsummer Night's Dream: Act IV, Scene I

1803

Thomas Harvey Cattle

Thomas Harvey, 1748–1820

Cattle

Peter Simon Tempest, Act I, Scene II. The Enchanted Island.

Peter Simon, 1750–1810

Tempest, Act I, Scene II. The Enchanted Island

1803

Henry Cave York Minister

Henry Cave, 1780–1836

York Minister

ca. 1813