Date: 1791 / Classification: Prints - YCBA Collections Search Search Results

Print made by George Stubbs, 1724–1806, British

A Sleeping Leopard

1791

George Stubbs, 1724–1806, British

Hay-Makers

1791

unknown artist, eighteenth century

Memorial to Theodore King of Corsica in St. Ann, Westminster

1791

unknown artist

Stowe's Monument in St. Andrew, Undershaft

1791

unknown artist

Newgate

1791

unknown artist, eighteenth century

Pye Corner, Smithfield

1791

unknown artist, eighteenth century

Samuel Cooper's Monument in St. Pancras Church

1791

unknown artist

In St. Mary Overie's or St. Saviour's, Southwark

1791

William Ellis, 1747–1810, British

Hackney

1791

Jacob C. Schnebbelie, 1760–1792, British

Painting on the South Side Severts Tomb

1791

unknown artist

Speed's Monument in the Chancel of St. Giles, Cripplegate

1791

John Raphael Smith, 1752–1812, British

A Wife - Une Femme Mariee

1791

John Raphael Smith, 1752–1812, British

What You Will - Ce Qui Vous Plaira

1791

John Raphael Smith, 1752–1812, British

A Maid - Une Pucelle

1791

John Raphael Smith, 1752–1812, British

A Widow - Une Veuve

1791

William Hincks 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.

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

William Hincks 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

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

William Hincks 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

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

William Hincks, 1752–1797

Plate VII: representing Winding, Warping with a new improved Warping Mill, and Weaving

1791

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

William Hincks 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

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

William Hincks 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 ...

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

William Hincks 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

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

William Hincks, 1752–1797

Plate IV: representing the common Method of Beetling, Scutching and Hackling the Flax

1791

William Hincks 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.

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

William Hincks 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

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

George Siegmund Facius, 1750–1804

George III

1791

Print made by John Condé, 1765–1794, French, active in Britain

T. Banks, Sculptor, R. A

1791

Charles Rosenberg, active 1790–1820

Mr. H. Angelo's Fencing Academy

1791

unknown artist

Lollard's Prison

1791

unknown artist

Memorial in St. Mary's, Lambeth

1791

unknown artist

Pedlar and his Dog, St. Mary's, Lambeth

1791

Isaac Cruikshank, 1764–1811, British

Resist Unto Blood, the True Christian Warfare, The Spirit Against the Flesh (A Clerical Boxing Match)

1791

Isaac Cruikshank, 1764–1811, British

A Stroke at the Plenipo or Mary's Mistake

1791

Isaac Cruikshank, 1764–1811, British

A Disunion or the Family Compact Disturbed

1791

Isaac Cruikshank, 1764–1811, British

Rights of Man Alias French Liberty Alias Entering Volunteers for the Republic (from: Caricature, vol. 3) ( from: Caricature, vol. 3)

1791

James Gillray, 1756–1815, British

Patience on a Monument

1791

James Gillray, 1756–1815, British

The Coming-on of the Monsoons; - or - The Retreat from Seringapatam

1791

James Gillray, 1756–1815, British

Lubber's Hole - alias - The Crack'd Jordan

1791

James Gillray, 1756–1815, British

The Siege of Blenheim - or - The New System of Gunning Discoverd -

1791

James Gillray, 1756–1815, British

The Devil to Pay; The Wife Metamorphos'd or Neptune reposing after Fording the Jordan

1791

Print made by John Carter, 1748–1817, British

Plate XCIV: South View of Westminster Abbey, Taken from Deans Yard

1791

James Gillray, 1756–1815, British

Les Trois Magots

1791

James Gillray, 1756–1815, British

French Democrats surprizing the Royal Runaways

1791

James Gillray, 1756–1815, British

The Balance of Power. - OR - "The Posterity of the Immortal Chatham, Turn'd Posture Master." - Vide Sheridan's Speech -

1791

Print made by Peter Simon, 1750–1810

Romeo and Juliet: Act IV, Scene III (A Monument Belonging to the Capulets)

1791

Print made by Jean B. Michel, active 1803

King Henry VI, Part III: Act V, Scene VII (Queen Bess Presenting King Edward . . . with Their Infant Son)

1791

Robert Strange, 1721–1792, British

Sir Robert Strange

1791

Print made by A. M. Ireland, active before 1801

Ex Libris of George Lambert

1791

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

Trade Card for Thomas Sandby, Jr

1791

Jacob C. Schnebbelie An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: Painting on the South Side Seberts Tomb

Jacob C. Schnebbelie, 1760–1792, British

An Account of Some Ancient Monuments in Westminster Abbey, in Vetusta Monumenta, vol. 2: Painting on the South Side Seberts Tomb

1791

Print made by Samuel Ireland, active 1760–died 1800, British

Somerset Place

1791

Print made by William Thomas, active 1783– died 1800

The House of the Cevaliere D'eon at Tonnerrel

1791

Print made by Samuel Ireland, active 1760–died 1800, British

Somerset Place

1791

Print made by J. Barlow, active 1791

Analysis of Beauty, Plate I

1791

Print made by J. Barlow, active 1791

Analysis of Beauty, Plate II

1791

Print made by J. Barlow, active 1791

Analysis of Beauty, Plate I

1791

Print made by J. Barlow, active 1791

Analysis of Beauty, Plate I

1791

Print made by unknown artist

Collection of Prints by Notable Dilettanti

1791

unknown artist

Guy, Earl of Warwick, From a Basso Relievio in Warwick Lane

1791

John Thomas Smith, 1766–1833, British

Domestic Architecture - N. E. View of an Old House lately Standing in Sweedon's Passage, Grub Street

1791

John William Edy, 1760–1820, Danish

A View of Albion Mill on Fire

1791

unknown artist

London Stone in Cannon Street

1791

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

unknown artist

London Stone in Cannon Street

1791

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

Vignette: Four Putti, Two Holding Hands

1791

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

Vignette: Four Putti, Two Holding Hands

1791

Bastiaen Stopendael, 1636/7–c.1708

Stad en Revier Van Rochester. Chatham (The Dutch Fleet in Medway) 12-23 June 1667

Published 1791

unknown artist

A Curious Pump

1791

Francis Jukes, 1747–1812, British

North End, Hampstead

1791

William Ellis, 1747–1810, British

Hornsey

1791

unknown artist

Monmouth House, Soho Square

1791

unknown artist

A Specimen of Ancient Building (Old houses in King Street)

1791

George Isham Parkyns, 1749/50–c.1820, British

Gateway of the Old Palace at Richmond

1791

unknown artist

Rosamond's Pond

1791

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

Contemplation

1791

Joseph Grozer, ca. 1755–1798, British

William Augustus Bowles, Chief of the Embassy from the Creeke & Cherokee Nations

1791

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

St. Paul

1791

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

The Departure of Hagar

1791

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

A Sacrifice To Diana The Goddess Of Hunting

1791

unknown artist

Pye Corner, Smithfield

1791

John William Edy, 1760–1820, Danish

A View of Westminster Bridge, the Abbey and Church

1791

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

Portrait of Joseph Haydn

1791

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

George, Prince of Wales

1791

Print made by John Keyse Sherwin, c.1751–1790, British

Mary Isabella, Duchess of Rutland

1791

Print made by John Raphael Smith, 1752–1812, British

Madona col Bambino

1791

Print made by John Jones, ca. 1745–1797, British

Caroline, Duchess of Marlborough

1791

Print made by John Young, 1755–1825, British

Mrs. Bunbury

1791

Print made by Charles Knight, 1743–c.1826, British

Miss Farren

1791

Print made by Charles Knight, 1743–c.1826, British

Miss Farren

1791

Print made by Charles Knight, 1743–c.1826, British

Miss Farren

1791

Print made by Richard Earlom, 1743–1822, British

A Brewhouse Yard

1791

John Jones, ca. 1745–1797, British

Rear Admiral Sir Charles Douglas

1791

John Jones, ca. 1745–1797, British

Admiral Edward Vernon

1791

unknown artist

A Memorial to Shakespeare

1791

John Jones, ca. 1745–1797, British

Sylvia

1791

John Keyse Sherwin, c.1751–1790, British

Mrs. Frances Abington (née Barton) as Roxalana in "The Sultan"

1791

John Keyse Sherwin, c.1751–1790, British

Mary Isabella Manners (née Somerset), Duchess of Rutland

1791

John Jones, ca. 1745–1797, British

Beatrice Listening to Hero and Ursula - "Much Ado About Nothing", Act III, Scene I

1791

W. Taylor, active 1790–1810

All's Well... Act III, Sc. V

1791

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