On-site Access: Accessible by appointment in the Study Room / Date: 1791 / Classification: Prints

George Stubbs, 1724–1806

Hay-Makers

1791

Print made by George Stubbs, 1724–1806

A Sleeping Leopard

1791

Print made by John Jones, ca. 1745–1797

Caroline, Duchess of Marlborough

1791

J. Barlow, active 1791

Merchant of Venice, Act III, Sc. I

1791

Page, fl. 1784–1803

Taming...Act III, Scene I

1791

John Jones The Father of the Turf. Tregonwell Frampton, Esquire of Moreton in Dorsetshire - Keeper of Running Horses at Newmarket, to their Majesties William the Third, Queen Anne, George the First & George the Second. ...

John Jones, ca. 1745–1797

The Father of the Turf. Tregonwell Frampton, Esquire of Moreton in Dorsetshire - Keeper of Running Horses at Newmarket, to their Majesties William the Third, Queen Anne, George the First & George the Second. ..

1791

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

Mary Isabella, Duchess of Rutland

1791

Print made by John Raphael Smith, 1752–1812

Madona col Bambino

1791

Print made by Thomas Cheesman, 1760–1834/35

Thomas Philip third Lord Grantham, afterwards Earl De Grey, with his brothers, Frederick John and Philip

1791

Print made by Joseph Grozer, ca. 1755–1798

The Honorable Miss Harris

1791

Print made by John Young, 1755–1825

Mrs. Gwyn

1791

George Morland, 1763–1804

Set of Five: Eight studies: Woman with Basket, Blinkered Cart Horse, etc

1791-1795

George Morland, 1763–1804

Set of Five: Studies of Girls, one Playing with Hoop, one Picking Berries, Man and Horse, etc

1791-1795

George Morland, 1763–1804

Set of Five: Studies of Children, a Dog, a Cat, etc

1791-1795

George Morland, 1763–1804

Set of Five: Studies of Laborers

1791-1795

W. Taylor, active 1790–1810

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

1791

Page, fl. 1784–1803

Taming... Act II, Sc. I

1791

John Chapman, active ca. 1792–1823

Black-George

1791

George Morland, 1763–1804

Set of Five: Five studies of Peddlers

1791-1795

Print made by John Young, 1755–1825

Mrs. Bunbury

1791

Print made by Charles Wilkin, 1750–1814

Lady Cockburn and Children

1791

Print made by John Jones, ca. 1745–1797

Lady Gertrude Fitzpatrick as Sylvia

1791

Print made by Francesco Bartolozzi, 1728–1815

Peniston, William, and Frederick James Lamb: The Affectionate Brothers

1791

Print made by Charles Knight, 1743–c.1826

Miss Farren

1791

Print made by Charles Knight, 1743–c.1826

Miss Farren

1791

Print made by Charles Knight, 1743–c.1826

Miss Farren

1791

Print made by Richard Earlom, 1743–1822

A Brewhouse Yard

1791

John Keyse Sherwin, c.1751–1790

Mary Isabella Manners (née Somerset), Duchess of Rutland

1791

John Raphael Smith, 1752–1812

Madona Col Bambino

1791

unknown artist

A Memorial to Shakespeare

1791

John Jones, ca. 1745–1797

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

1791

John Jones, ca. 1745–1797

Sylvia

1791

John Keyse Sherwin, c.1751–1790

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

1791

John Jones, ca. 1745–1797

Rear Admiral Sir Charles Douglas

1791

Print made by John Jones, ca. 1745–1797

The Roguish Boy

1791

John Jones, ca. 1745–1797

Admiral Edward Vernon

1791

Print made by unknown artist

Christopher Smart, A.M

1791

Print made by Francesco Bartolozzi, 1728–1815

Portrait of Joseph Haydn

1791

George Keating, 1762–1842

The Deserter, 29 July 1791

1791

George Keating, 1762–1842

The Deserter, 29 July 1791

1791

unknown artist

London Stone in Cannon Street

1791

Francesco Bartolozzi, 1728–1815

Contemplation

1791

Francesco Bartolozzi, 1728–1815

Hebe

1791

unknown artist

Rosamond's Pond

1791

unknown artist

Pye Corner, Smithfield

1791

unknown artist

Pye Corner, Smithfield

1791

William Ellis, 1747–1810

Hackney

1791

Jacob C. Schnebbelie, 1760–1792

Painting on the South Side Severts Tomb

1791

unknown artist

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

1791

Thomas Prattent, active 1780–1810

Newcastle House, Clerkenwell Close

1791

unknown artist

William, Earl of Craven

1791

unknown artist

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

1791

unknown artist

A Curious Pump

1791

unknown artist

Newgate

1791

unknown artist

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

1791

unknown artist

Stowe's Monument in St. Andrew, Undershaft

1791

unknown artist

Samuel Cooper's Monument in St. Pancras Church

1791

James Gillray, 1756–1815

Les Trois Magots

1791

Isaac Cruikshank, 1764–1811

Bachelor's Hall

1791

Print made by Marino Bovi, Italian, 1758–ca.1805

Lady Sinclair

1791

Francesco Bartolozzi, 1728–1815

Concert Ticket: Grand Professional Concert

1791

unknown artist

Sion Lodge

1791

Isaac Cruikshank, 1764–1811

The Pleasure of Being Kick'd Out of Company

1791

Print made by Isaac Cruikshank, 1764–1811

Mrs. Pickles Mistake or the New Papa Disappointed with Justice Shallows Attempt to Charm the Brutes

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

Print made by Peter Simon, 1750–1810

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

1791

Print made by John Carter, 1748–1817

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

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 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, 1752–1797

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

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 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

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 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 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 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