Images at Librifly

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Anglers Packing Up, Robert Pollard, 1755–1838, British, And James Pollard, 1792–1867, British, undated, Graphite and pen and brown ink on blued white, medium, slightly textured, wove paper, Sheet: 4 1/4 × 13 inches (10.8 × 33 cm),

Rider on a Brown Horse About to Jump a Rail Fence to the Right, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 9 1/16 × 12 3/16 inches (23 × 31 cm),

Bathing Houses at Margate, Edward Francis Burney, 1760–1848, British, undated, Pen and black ink, graphite and gray wash on medium, slightly textured, cream laid paper, Sheet: 7 3/4 × 11 7/8 inches (19.7 × 30.2 cm), boats, horse

'Panton's Doctor': With Jockey Up, Walking to Left, James Seymour, 1702–1752, British, undated, Graphite on medium, slightly textured, cream, laid paper, Mount: 16 × 22 inches (40.6 × 55.9 cm), Contemporary drawn border: 9 1/4 × 12

The Iron Yachts Mystery and Blue Belle in the Match Sailed May 23rd, 1843, Print made by Thomas Goldsworth Dutton, 1819/20–1891, British, after Nicholas Condy, 1793–1857, British, Printed by Day & Haghe, 1824–1913, British, Published

Study of the Front of a Horse, James Bruce, 1730–1794, British, undated, Pen and brown ink and gray wash on medium, slightly textured, cream laid paper, Sheet: 7 3/4 × 9 5/8 inches (19.7 × 24.4 cm), animal art

The Island of Barbados, Isaac Sailmaker, ca. 1633–1721, Dutch, active in Britain (from the 1640s), ca. 1694, Oil on canvas, Support (PTG): 44 1/2 x 91 inches (113 x 231.1 cm), bird's-eye view, full-rigged ships, island, marine art,

Lybius guifsobalito (Black-billed Barbet), Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 inches (40.6 cm) and Sheet: 15 7/8 × 12 inches (40.3 ×

Welsh Hills from Beaumaris, unknown artist, nineteenth century, undated, Gouache on medium, slightly textured, cream wove paper mounted to moderately thick, moderately textured, cream wove paper, Sheet: 7 5/8 × 9 7/8 inches (19.4 × 25.1

Sketchbook Drawing, Sawrey Gilpin, 1733–1807, British, 1787, Graphite, pen and brown ink, and gray wash on moderately thick, slightly textured, cream laid paper, Sheet: 10 1/4 x 14 3/4in. (26 x 37.5cm), animal art

Rt. Hon. John Manners, Marquess of Granby, and a Servant, Print made by James Watson, 1740–1790, British, after Sir Joshua Reynolds RA, 1723–1792, British, undated, Mezzotint on moderately thick, moderately textured, beige, laid

The Weary Ploughman, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), 1858, Etching and drypoint, with plate tone on moderately thick, slightly textured, cream wove paper, Sheet: 11 9/16 x 16 3/8 inches (29.4

Studies of Horses with Chinese Grooms, and a Dog, Nov. 10, 1840, George Chinnery, 1774–1852, British, 1840, Graphite on moderately thick, slightly textured, blued white, laid paper, Mount: 11 11/16 × 11 1/4 inches (29.7 × 28.6 cm),

The Welsh Coast, John Varley, 1778–1842, British, 1837, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 4 1/8 x 11 5/8 inches (10.5 x 29.5 cm), boats, cart, cattle, clouds, cottages, landscape, marine

Bachelors' Hall: The Hunt Breakfast, Francis Calcraft Turner, active 1782–1846, British, 1842, Oil on canvas, Support (PTG): 14 x 19 inches (35.6 x 48.3 cm), breakfast, chairs, child, dinner, dog (animal), feast, food, genre subject,

A View of Erith, Looking Up the Thames, Print made by John Boydell, 1720–1804, British, after John Boydell, 1720–1804, British, Published by John Boydell, 1720–1804, British, 1750, Etching with hand coloring on moderately thick,

Study of a Calf, Sawrey Gilpin, 1733–1807, British, undated, Pen and brown ink over graphite on medium, slightly textured, cream laid paper, Sheet: 4 3/8 × 7 inches (11.1 × 17.8 cm), animal art, calf (animal), cow, grasses, grazing,

Tusked Walruses, James Sowerby, 1756–1822, British, undated, Gouache and graphite on medium, smooth, greenish-yellow, vellum paper, Sheet: 7 13/16 × 5 15/16 inches (19.8 × 15.1 cm), animal art, snow, walruses

King Charles I of England, Mounted, James Seymour, 1702–1752, British, undated, Graphite on medium, slightly textured, cream laid paper, Sheet: 6 1/4 × 4 1/4 inches (15.9 × 10.8 cm), Mount: 12 × 14 1/4 inches (30.5 × 36.2 cm), and

The Reverend Paul Returns with Despatches, Hablot Knight Browne, 1815–1882, British, undated, Graphite and black chalk, Sheet: 4 5/16 × 6 15/16 inches (10.9 × 17.7 cm) and Frame: 10 1/16 × 12 13/16 × 3/8 inches (25.6 × 32.5 × 0.9 cm),

The Duke of Hamilton's Grey Racehorse 'Victorious' at Newmarket, John Wootton, 1682–1764, British, ca. 1725, Oil on canvas, Support (PTG): 113 1/4 x 127 1/8 inches (287.7 x 322.9 cm), costume, duke, equestrians, genre subject, horses

Sketch of an Elaborately Saddled Horse, Robert Mabon, died 1798, British, ca. 1792, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 9 1/2 × 13 3/8 inches (24.1 × 34 cm), animal art,

Racehorse at Exercise, Ridden by a Training-Groom, James Seymour, 1702–1752, British, undated, Gouache, witih pen, in black ink, brown ink, and graphite on medium, slightly textured, laid paper, mounted on moderately thick, beige,

Part of the South Pole Barrier to 180 Feet Above Sea Level, 1000 Feet Thick and 450 Miles in Length, Charles Hamilton Smith, 1776–1859, Belgian, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper,

Sketchbook Drawing, Sawrey Gilpin, 1733–1807, British, 1787, Graphite, pen and brown ink, and gray wash on moderately thick, slightly textured, cream laid paper, Sheet: 10 1/4 x 14 3/4in. (26 x 37.5cm), animal art

Elephants Fighting, Johan Joseph Zoffany RA, 1733–1810, German, active in Britain (from 1760), between 1784 and 1788, Black, white and red chalk on medium, slightly textured, blue laid paper, Sheet: 9 1/16 × 16 5/16 inches (23 × 41.5

Moonlight, Print made by Thomas Creswick, 1811–1869, British, Printed by Etching Club, active 1838–1885, British, 1839, Etching on thick, slightly textured, cream wove paper with cream chine collé, Sheet: 4 1/4 x 6 3/8 inches (10.8 x

Unidentified Fish, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 1/4 inches (41.3 cm) and Sheet: 16 × 12 1/2 inches (40.6 × 31.8 cm), animal

Two Studies for a Sculpture, Henri Gaudier-Brzeska, 1891–1915, French, between 1910 and 1915, Black ink on medium, slightly textured, cream machine-made laid paper, Sheet: 9 x 7 1/8 inches (22.9 x 18.1 cm), abstract art, figure, figure

A Bull Charging, Philippe-Jacques de Loutherbourg, 1740–1812, French, active in Britain (from 1771), 1794, Brown wash with pen and brown ink over graphite on medium, slightly textured, cream laid paper, Sheet: 5 1/2 × 8 1/8 inches (14 ×

Studies of Two Riders, and of Rider's Heads, Sawrey Gilpin, 1733–1807, British, updated, Graphite and pen and brown ink on medium, moderately textured, cream, laid paper, Sheet: 6 11/16 × 8 7/16 inches (17 × 21.4 cm), figure study,

Man and Woman with a Bag of Game, Marcellus Laroon the Younger, 1679–1772, British, undated, Graphite and watercolor on medium, slightly textured, beige, laid paper, Sheet: 8 × 11 15/16 inches (20.3 × 30.3 cm), bird, figure study,

Shipping Scene, Charles Golding Constable, 1821–1879, British, undated, Graphite and pen and gray ink on medium, slighlty textured, white laid paper, Sheet: 4 3/4 × 8 3/4 inches (12.1 × 22.2 cm), marine art, ocean, sailboats, ships

Unidentified Fish, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 1/4 inches (41.3 cm) and Sheet: 16 × 12 1/2 inches (40.6 × 31.8 cm), animal

The Channel Sketchbook, Joseph Mallord William Turner, 1775–1851, British, ca. 1845, Watercolor on medium, slightly textured, white wove paper, Sheet: 3 3/4 x 6 1/4 inches (9.5 x 15.9 cm) and Binding: 4in. (10.2cm), channel (water body

Man Leading a Horse, Thomas Barker, 1769–1847, British, undated, Pen and brown ink and brown wash; verso: graphite on thin, slightly textured, cream laid paper, Sheet: 10 × 8 1/8 inches (25.4 × 20.6 cm), animal art

Group of Whelps Bred between a Lion and a Tigress, Jacques-Laurent Agasse, 1767–1849, Swiss, active in Britain (from 1800), 1825, Oil on canvas, Support (PTG): 14 x 12 inches (35.6 x 30.5 cm), animal art, cage, husbandry, hybridity,

A Horse, Facing Right, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, moderately textured, beige, laid paper, Sheet: 10 × 13 3/8 inches (25.4 × 34 cm), animal art

Trying the Mare, Samuel Alken, 1756–1815, British, 1813, Watercolor, pen and black ink, and graphite on medium, slightly textured, beige, wove paper, Sheet: 8 11/16 × 10 15/16 inches (22.1 × 27.8 cm), birds, dog (animal), fence,

African Civet, Samuel Howitt, 1756–1822, British, ca. 1817, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, Sheet: 9 5/8 × 7 3/8 inches (24.4 × 18.7 cm), animal art

A Kangaroo with three kangaroos in the background, James Sowerby, 1756–1822, British, undated, Watercolor and gouache over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 13 1/4 × 8 1/2 inches (33.7 × 21.6 cm),

A Porcupine Fish, John Smart, 1741–1811, British, undated, Watercolor on medium, slightly textured, cream wove paper, Sheet: 7 x 9 9/16in. (17.8 x 24.3cm) and Sheet: 7 × 9 5/8 inches (17.8 × 24.4 cm), animal art, fish

Taxali Gate, Lahore, 17 March 1860, William Simpson, 1823–1899, British, 1860, Graphite on medium, smooth, cream wove paper, Sheet: 4 × 5 7/8 inches (10.2 × 14.9 cm) and Binding: 4 1/4 inches (10.8 cm), animal art, camel (mammal),

Sketchbook Drawing, Sawrey Gilpin, 1733–1807, British, 1787, Graphite, pen and brown ink, and gray wash on moderately thick, slightly textured, cream laid paper, Sheet: 10 1/4 x 14 3/4in. (26 x 37.5cm), animal art

Full Cry, Possibly Henry Thomas Alken, 1785–1851, British, or possibly Samuel Henry Gordon Alken, 1810–1894, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 8 3/4 × 10 5/8

Cape Crozier and Mount Terror, Charles Hamilton Smith, 1776–1859, Belgian, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 12 7/8 × 16 1/8 inches (32.7 × 41 cm) and Binding: 16 1/8

The Return from the Hunt, Thomas Rowlandson, 1756–1827, British, 1787, Watercolor, with pen, in gray ink and black ink on moderately thick, slightly textured, cream, laid paper, Mount: 8 1/16 x 11 7/8 inches (20.5 x 30.2 cm) and Sheet: 7

One of the Embassy Yachts, William Alexander, 1767–1816, British, ca. 1794, Watercolor, pen and black ink, and graphite on medium, slightly textured, beige wove paper, Sheet: 9 7/8 × 8 inches (25.1 × 20.3 cm), embassy, flag, genre

East End of the Preya Grande, Macao, Pupil of George Chinnery, 1774–1852, British, undated, Watercolor with pen and brown ink on moderately thick, rough, cream wove paper, Sheet: 6 × 9 inches (15.2 × 22.9 cm), cityscape, fort, marine

Retreat Beating at Poona, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 4 1/8 × 5 1/4 inches (10.5 × 13.3 cm), genre subject, huts,

The Wave, C. R. W. Nevinson, 1889–1946, British, 1917, Lithograph on medium, slightly textured, white wove paper, Sheet: 17 3/4 × 21 inches (45.1 × 53.3 cm) and Image: 13 1/2 × 16 3/4 inches (34.3 × 42.5 cm), marine art, ocean,

The Delivery of the Definitive Treaty by the Hostage Princes into the Hands of Lord Cornwallis, Print made by Daniel Orme, 1766–1837, British, after Mather Brown, 1761–1831, American, active in Britain, 1793, Stipple engraving on medium,

'Doing the Thing: and the Thing Done:' Doing it Somehow, Henry Thomas Alken, 1785–1851, British, 1818, Watercolor, pen and black ink, brown ink and graphite on medium, moderately textured, blued white, wove paper, Sheet: 6 × 9 1/8

Sketchbook Drawing, Sawrey Gilpin, 1733–1807, British, 1787, Graphite, pen and brown ink, and gray wash on moderately thick, slightly textured, cream laid paper, Sheet: 10 1/4 x 14 3/4in. (26 x 37.5cm), animal art

Games at Vauxhall: Playing at Cricket, Print made by Guillaume Philippe Benoist, 1725–ca. 1770, French, after Francis Hayman, 1707/8–1776, British, Published by John Bowles, 1701–1779, British, Published by Carington Bowles,

A Stag Hunt, John Wootton, 1682–1764, British, undated, Graphite on medium, slightly textured, blued white, laid paper, Sheet: 7 1/2 × 8 1/2 inches (19.1 × 21.6 cm), deer, dogs (animals), field, horseback riders, horseback riding,

Grouse Shooting, Henry Thomas Alken, 1785–1851, British, ca. 1825, Oil on canvas, Support (PTG): 9 x 11 inches (22.9 x 27.9 cm), birds, dogs (animals), grouse, hunter, mountains, rifle, shotgun, sporting art, sportsmen

Shipwreck, Francis Danby, 1793–1861, Irish, ca. 1850, Oil on canvas, Support (PTG): 12 1/2 x 16 inches (31.8 x 40.6 cm), birds, boat, clouds, lifeboat, marine art, men, ocean, sea, ship, shipwreck, sunset, waves (natural events

Hunter in a landscape, James Ward, 1769–1859, British, 1810, Oil on panel, Support (PTG): 27 7/8 x 35 7/8 inches (70.8 x 91.1 cm), horse (animal), hunting, landscape, sporting art

Cow Lying Next to a Fence, Sawrey Gilpin, 1733–1807, British, undated, Pen and brown ink, graphite, and brown wash on medium, moderately textured, beige, laid paper, mounted on, moderately thick, smooth, cream, wove paper, Sheet: 6

Men of War Lying off Sheerness, John Harris, 1770–1834, British, undated, Watercolor, pen and black ink, gray ink, gouache and graphite on medium, moderately textured, beige, laid paper, Sheet: 16 1/4 × 21 1/4 inches (41.3 × 54 cm),

Stained Glass Study, Water Plant with Grasshoper, Fish and Newt, Sir John Everett Millais, 1829–1896, British, undated, Graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 5/8 x 2 1/2 inches (14.3 x 6.3 cm),

Skeletal Drawing, and Leg Studies, of Cattle, Sawrey Gilpin, 1733–1807, British, undated, Pen and brown ink on medium, moderately textured, beige, laid paper, mounded on, moderately thick, slightly textured, cream, wove paper,

'Some Do and Some Don't: It is All a Notion:' Getting Dead Beat, Henry Thomas Alken, 1785–1851, British, between 1848 and 1851, Graphite and watercolor on medium, slightly textured, beige, wove paper, Sheet: 7 5/8 × 10 11/16 inches (19.4

The Hunting Doctor, Attributed to John Leech, 1817–1864, British, undated, Graphite, pen and brown ink, and watercolor on medium, slightly textured, white wove paper, Image: 10 × 16 5/8 inches (25.4 × 42.2 cm) and Frame: 15 3/4 × 22

Views in the Levant: Men Loading a Small Sailing Boat With a View of Building and Large Moored Boat, unknown artist, ca. 1785, Pen and black ink, gray ink, brown ink and gray wash on medium, slightly textured, cream, laid paper, mounted on

The Channel Sketchbook, Joseph Mallord William Turner, 1775–1851, British, ca. 1845, Watercolor on medium, slightly textured, white wove paper, Sheet: 3 3/4 x 6 1/4 inches (9.5 x 15.9 cm) and Binding: 4in. (10.2cm), boats, channel (water

The Spanish Pointer, John Buckler FSA, 1770–1851, British, after George Stubbs, 1724–1806, British, ca. 1799, Watercolor, with pen in gray ink, black ink, brown ink, and graphite on medium, smooth, cream wove paper, Sheet: 15 9/16

Up and Over, Cecil Charles Windsor Aldin, 1870–1935, British, undated, Watercolor, pen and black ink, graphite and gouache on moderately thick, slightly textured, cream, wove paper, Image: 9 13/16 × 13 15/16 inches (24.9 × 35.4 cm),

Elephant Battery, William Simpson, 1823–1899, British, 1864, Watercolor and gouache over graphite on medium, cream, slightly textured wove paper, Sheet: 10 5/8 x 14 1/4 inches (27 x 36.2 cm), animal art, batteries, cannons, conflict,

Unidentified Fish, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 1/4 inches (41.3 cm) and Sheet: 16 × 12 1/2 inches (40.6 × 31.8 cm), animal

Cave of the Golden Calf: City Street with Omnibus, Spencer Frederick Gore, 1878–1914, British, 1912, Graphite and pen and black ink on medium, slightly textured, beige wove paper, Sheet: 12 x 10 3/4 inches (30.5 x 27.3 cm), animal art,

Jetty in a Storm, François Louis Thomas Francia, 1772–1839, French, active in Britain, undated, Brown wash and ink with gouache on moderately thick, rough, gray wove paper, pasted on thick, smooth, cream card, Sheet: 4 x 7 1/8 inches

The Channel Sketchbook, Joseph Mallord William Turner, 1775–1851, British, ca. 1845, Watercolor on medium, slightly textured, white wove paper, Sheet: 3 3/4 x 6 1/4 inches (9.5 x 15.9 cm) and Binding: 4in. (10.2cm), channel (water body

Boat Sketch, Thomas Daniell, 1749–1840, British, active in India, William Daniell, 1769–1837, British, undated, Graphite on medium, moderatly textured, cream, laid paper, mounted on, moderately thick. slightly textured, cream,

A Ship in Distress, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Peter Monamy, 1681–1749, British, Published by John Bowles, 1701–1779, British, 1745, Line engraving and etching on moderately

A Squall, Lionel Constable, 1828–1887, British, or Alfred Abram Constable, 1826–1853, British, formerly John Constable, 1776–1837, British, undated, Graphite and gray wash on medium, slightly textured, cream wove paper laid to

Water Spaniel, In the manner of George Stubbs, 1724–1806, British, undated, Oil on glass, Support (PTG): 9 1/16 × 11 13/16 inches (23 × 30 cm), animal art, dog (animal

Hunting Scene: The Meet, possibly John Frederick Tayler, 1802–1889, British, undated, Graphite, pen and black ink, and gray wash on medium, slightly textured, cream, wove paper, Sheet: 4 1/16 × 6 13/16 inches (10.3 × 17.3 cm),

Back View of Stout Rider on a Chestnut Horse, Sir Francis Grant, 1803–1878, British, undated, Watercolor, with pen, in brown ink on medium, smooth, blue, wove paper, Sheet: 8 3/8 × 13 1/4 inches (21.3 × 33.7 cm), chestnut brown,

The Ass and the Sick Lion, Print made by John Doyle ('H.B.'), 1797–1868, Irish, Printed by Thomas McLean, 1788–1875, British, Published by Thomas McLean, 1788–1875, British, 1849, Lithograph in tan and black ink on moderately thick,

The Portraiture of the Cullen Arabian, Print made by Richard Houston, ca. 1721–1775, British, after Thomas Spencer, 1700–1753, British, 1756, Mezzotint on medium, slightly textured, cream laid paper, Sheet: 11 5/8 x 13 5/8in. (29.5 x

Grouse Shooting, Henry Thomas Alken, 1785–1851, British, or possibly Samuel Henry Gordon Alken, 1810–1894, British, undated, Graphite and watercolor on thick, slightly textured, cream, wove paper, Sheet: 10 3/16 × 14 inches (25.9 ×

The Hinny, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink, and graphite on mediium, slightly textured, white, wove paper, Sheet: 3 7/8 × 6 3/8 inches (9.8 × 16.2 cm), animal art

The Channel Sketchbook, Joseph Mallord William Turner, 1775–1851, British, ca. 1845, Graphite and watercolor on medium, slightly textured, white wove paper, Sheet: 3 3/4 x 6 1/4 inches (9.5 x 15.9 cm) and Binding: 4in. (10.2cm), beaches,

Illustration for R.S. Surtees', 'The Analysis of the Hunting Field': The Check: 'What the Devil Do You Do Here..', Henry Thomas Alken, 1785–1851, British, undated, Watercolor over etched outline, with gouache, and pen in black ink on

Smiling Tom, Saddled and Bridled: Standing, Facing Left, James Seymour, 1702–1752, British, undated, Graphite on medium, moderately textured, cream, laid paper, mounted on, moderately thick, moderatelly textured, beige, wove paper,

'Scraps', no. 35: Mounted Mameluke with Bamboo Spear, Henry Thomas Alken, 1785–1851, British, undated, Graphite and red chalk on medium, slightly textured, blued white, wove paper, Sheet: 6 13/16 × 9 1/4 inches (17.3 × 23.5 cm),

Design for a Medal: Frederick and Augusta, Prince and Princess of Wales, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Pen and black ink, over graphite with red chalk, incised and squared for

Foxhunting: The Kill, John Wootton, 1682–1764, British, undated, Pen and black ink, over graphite, with gray wash on medium, moderately textuered, beige, laid paper, Sheet: 12 3/4 × 18 1/2 inches (32.4 × 47 cm), dogs (animals),

Three Masted Ship, William Daniell, 1769–1837, British, undated, Graphite with brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 6 × 9 1/8 inches (15.2 × 23.1 cm), flag, hills, marine art, masts, sails, sea,

Westminster Bridge and the Royal Barge (The Royal Barge and Westminster), Thomas Stothard, 1755–1834, British, undated, Gray wash and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 4 1/8 × 5 1/2 inches (10.5 × 14

Steeplechasing: Three Riders Taking a Brook, Henry Thomas Alken, 1785–1851, British, ca. 1825, Graphite and watercolor on moderately thick, moderately textured, blued white, wove paper, Sheet: 10 1/4 × 14 3/8 inches (26 × 36.5 cm),

An Irish Wolfhound, Sir Edwin Henry Landseer, 1802–1873, British, undated, Watercolor, graphite, and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 6 9/16 × 10 3/8 inches (16.7 × 26.4 cm) and Frame: 11 5/16 ×

A Blue Tit, James Sowerby, 1756–1822, British, undated, Graphite on medium, smooth, cream wove paper, Sheet: 13 × 7 5/8 inches (33 × 19.4 cm), animal art, bird, Blue tit

The Black Wolf, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black and brown ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 5/8 × 7 1/2 inches (11.7 × 19.1 cm), animal art

View of London Bridge and St. Paul's Cathedral, William Daniell, 1769–1837, British, ca. 1804, Watercolor and graphite with scraping out on thick, moderately textured, cream wove paper, Sheet: 15 1/8 x 25 3/8 inches (38.4 x 64.5 cm),

Two Horses, Harold Gilman, 1876–1919, British, undated, Black ink and graphite on medium, slightly textured, cream laid paper, Sheet: 6 1/2 × 7 3/8 inches (16.5 × 18.7 cm), animal art, grazing, horses (animals), pointillism

Moeris and Galatea, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), plate etched between 1880 and 1883; impression printed in 1924, Etching and drypoint, with plate tone, retouched with white watercolor,

Gray Mare and a Chestnut Foal, John Frederick Lewis, 1804–1876, British, 1846, Watercolor, white gouache and graphite with scratching out on moderately thick, moderately textured, cream wove paper, Sheet: 11 3/8 x 16 1/4 inches (28.9 x

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