Medium: etching (printing process) / Period: 19th century / Subject Terms: literary theme

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Homeward Star

etching begun ca. 1880; impression printed in 1924

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Sepulchre

etching begun ca. 1800; impression printed in 1924

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Vine

1852

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

Moeris and Galatea

1880-1883

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Bellman

1879

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Bellman

1879

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Cypress Grove

plate etched between ca. 1880 and 1883; impression printed in 1924

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Homeward Star

begun ca. 1880

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Homeward Star

etching begun ca. 1880; impression printed in 1924

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Lonely Tower

1879

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Homeward Star

etching begun ca. 1880; impression printed in 1924

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

Opening the Fold

1880

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

Moeris and Galatea

plate etched between 1880 and 1883; impression printed in 1924

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Sleeping Shepherd

1857

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Lonely Tower

1879

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

The Sepulchre

between 1880 and 1883

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

Opening the Fold

plate etched in 1880; impression printed in 1920

Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39)

Opening the Fold

plate etched in 1880; impression printed in 1926

Etched by Joseph Mallord William Turner, 1775–1851, British

Apuleia in Search of Apuleius

between 1813 and 1823

Etched by Joseph Mallord William Turner, 1775–1851, British

Apuleia in Search of Apuleius

between 1813 and 1823

Etched and engraved by Joseph Mallord William Turner, 1775–1851, British

Aesacus and Hesperie

1819

Etched by Joseph Mallord William Turner, 1775–1851, British

Procris and Cephalus

1812

Etched by Joseph Mallord William Turner, 1775–1851, British

From Spenser's Fairy Queen

1811

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 16, "The Traveller hasteth in the Evening"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 19, "To The Accuser . . . ." (Bentley 21)

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 6, "Air"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 7, "Fire"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 8, "At length for hatching ripe he breaks the shell"

1826

Print made by William Blake, 1757–1827, British

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, British

For the Sexes: The Gates of Paradise, Plate 17, "Death's Door"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 18, "I have said to the Worm . . . ."

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 2, Frontispiece, "What is Man!"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 20, "He meets his Saviour in the Grave . . . . "

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 3, "I found him beneath a Tree"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 4, "Water"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 5, "Earth"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 9, "Alas!"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 1, Title Page

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 10, "My son! my Son!"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 11, "I want! I want!"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 12, "Help! Help!"

1826

Print made by William Blake, 1757–1827, British

For the Sexes: The Gates of Paradise, Plate 13, "Aged Ignorance"

1826

Print made by William Blake, 1757–1827, British

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

1826

Print made by Thomas Goff Lupton, 1791–1873, British

Procris and Cephalus

1864

Print made by William Miller, 1796–1882, British

Abbotsford, Large Vignette

1841

Print made by William Miller, 1796–1882, British

Loch Achray

1834

Print made by William Miller, 1796–1882, British

Sandy Knowe, or Smailholm Tower (Vignette)

1839

James Heath, 1757–1834, British

"This is fairy gold, boy, and will prove so"

1804

Henry Thomas Alken, 1785–1851, British

Illustration for R.S. Surtees', "The Analysis of the Hunting Field": The Meet: 'With Bright Faces and Merry Hearts'

undated

Henry Thomas Alken, 1785–1851, British

Illustration for R.S. Surtees', "The Analysis of the Hunting Field": The Check: 'What the Devil Do You Do Here..'

undated

Henry Thomas Alken, 1785–1851, British

Illustration for R.S. Surtees', "The Analysis of the Hunting Field:" Full Cry: 'Let's Keep the Lead'

undated

Henry Thomas Alken, 1785–1851, British

An Illustration of C.J. Apperley ('Nimrod'), "The Life of a Sportsman": 'A Night Scene with Sir Thomas Mostyn'

1842

Print made by George Cruikshank, 1792–1878, British

Jack Sheppard Committing the Robbery in Willesden Church

1839

Print made by George Cruikshank, 1792–1878, British

Audacity of Jack Sheppard

1839

Print made by George Cruikshank, 1792–1878, British

Jonathan Wild Seizing Jack Sheppard at his Mother's Grave in Willesden Church Yard

1839

George Cruikshank The Last Scene: 'Jack Sheppard's Farewell to Mr Wood / Blueskin cutting down Jack Sheppard / The Body of Jack Sheppard carried off by the Mob'

Print made by George Cruikshank, 1792–1878, British

The Last Scene: 'Jack Sheppard's Farewell to Mr Wood / Blueskin cutting down Jack Sheppard / The Body of Jack Sheppard carried off by the Mob'

1839

Print made by Francesco Bartolozzi, 1728–1815, Italian, active in Britain (1764–99)

Twelfth Night, Act V, Scene I: The Street

1803

Print made by George Cruikshank, 1792–1878, British

Mr. Wood Offers to Adopt Little Jack Sheppard

1835

Print made by George Cruikshank, 1792–1878, British

The Murder on the Thames

1839

Print made by George Cruikshank, 1792–1878, British

Mrs. Sheppard Expostulating with her Son

1839

Print made by George Cruikshank, 1792–1878, British

Jack Sheppard's Escape from the Cage at Willesden

1839

Print made by George Cruikshank, 1792–1878, British

Jack Sheppard Accuses Thames Darrell of the Theft

1839

Print made by George Cruikshank, 1792–1878, British

Jack Sheppard's Irons Knocked off in the Stone Hall at Newgate

1839

Print made by Edward Goodall, 1795–1870, British

Carlisle

1834

Print made by George Cruikshank, 1792–1878, British

Jack Sheppard Exhibits a Vindictive Character

1835

Print made by George Cruikshank, 1792–1878, British

"May I be Cursed," muttered Jack Sheppard, "if ever I try to be honest again!"

1839

Print made by unknown artist, (A. Dick)

Grandpapa's Story or The Witches Frolick

1838

Print made by George Cruikshank, 1792–1878, British

Jonathan Wild Throwing Sir Rowland Trenchard Down the Well-Hole

1839

Print made by George Cruikshank, 1792–1878, British

The Name on the Beams

1839

Print made by George Cruikshank, 1792–1878, British

Jack Sheppard and Blueskin in Mr. Woods Bedroom

1839

Print made by George Cruikshank, 1792–1878, British

Jonathan Wild Discovers Darrell in the Loft

1835

Henry Thomas Alken, 1785–1851, British

Illustration for R.S. Surtees', "The Analysis of the Hunting Field": Getting Away: 'Let's Take the Lead'

undated

Print made by George Cruikshank, 1792–1878, British

Jack Sheppard Gets Drunk and Orders his Mother off

1839

Print made by David Allan, 1744–1796, British, born in Scotland

Bauldy, Symon and Sir William Worthy

1808

Print made by John Pye, 1782–1874, British

Junction of the Greta and the Tees

1834

Thomas Rowlandson, 1756–1827, British

Dr. Syntax and his Counterpart

1820

Print made by Henry J. Townsend, 1810–1890, British

Where the Bee Sucks. The Tempest, Act V, Scene I, Ariel on a Hammock of Convolvulus

1853

Print made by Luigi Schiavonetti, 1765–1810, Italian

The Soul Hovering over the Body reluctantly Parting with Life

1808, published 1813

Print made by Charles Ansell, ca.1752–active 1790, British

Hamlet

1809

Print made by James H. Baker, born 1829

Come Gentle Night: "Romeo and Juliet," Act III, Scene II

between 1839 and 1849

Print made by unknown artist, ( J. B. )

The Young Roscius

1804

Print made by George Cruikshank, 1792–1878, British

Gloucestershire. Before Shallow's house: 'Henry IV Part II,' Act III, Scene II

after 1857

Print made by George Cruikshank, 1792–1878, British

London. The Boar's-head Tavern in Eastcheap: 'Henry IV Part II,' Act II, Scene IV

after 1857

Print made by William Heath, 1795–1840, British

Opera Reminiscences: Desdemona and Othello

1829

Print made by George Cruikshank, 1792–1878, British

London. A Street: 'Henry IV Part II,' Act II, Scene I

after 1857

Print made by George Cruikshank, 1792–1878, British

Another Part of the Field: 'Henry IV Part I,' Act V, Scene IV

after 1857

Print made by Augustus Fox, 1800–1876, British

The Dreams of the Youthful Shakespeare

1827

Georg Goldberg, 1830–1894, German

"Antony and Cleopatra," Act III, Scene XI

undated

James Heath, 1757–1834, British

"Hubert, let me not be bound!"

1802

James Heath, 1757–1834, British

"Here, I and sorrows sit; here is my throne, bid kings come and bow to it"

1802

Print made by Henry William Bunbury, 1750–1811, British

Pistol eating Fluellen's Leak - "Henry V"

between 1811 and 1815

James Heath, 1757–1834, British

"Then go, bid the huntsmen wake them with their horns"

1802

James Heath, 1757–1834, British

"We come to visit you: and purpose now, to lead you to our court: vouchsafe it then."

1802

Print made by William Heath, 1795–1840, British

Opera Reminiscences: Desdemona and Otello

1829

William Greatbach, Born 1802, British

Falstaff and his Friends

ca. 1868

Print made by Sir Frank Short, 1857–1945, British

Aesacus and Hesperie

1896

Print made by Sir Frank Short, 1857–1945, British

Pan and Syrinx

1896

Print made by Sir Frank Short, 1857–1945, British

Pan and Syrinx

1896

James Heath, 1757–1834, British

"Mark your divorce young sir, whom son I dare not call"

1804

Robert Thew, 1758–1802, British

As You Like It: Act II, Scene VII: The Seven Ages Man (Third Age)

1803

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Medium etching (printing process)

Period 19th century

Subject Terms literary theme

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Period 19th century

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