Images at Librifly

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A Bird, James Sowerby, 1756–1822, British, undated, Graphite and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 8 1/4 × 5 1/4 inches (21 × 13.3 cm), animal art, bird

Fishing Boat with Small Craft Alongside, Thomas Daniell, 1749–1840, British, active in India, ca. 1789, Graphite with gray wash on medium, slightly textured, cream laid paper, Sheet: 5 x 8 3/4 inches (12.7 x 22.2 cm), boat, craft,

'You're Not Going to Follow, Belle, Are You?', Hablot Knight Browne, 1815–1882, British, undated, Graphite, watercolor and white gouache on moderately thick, slightly textured, gray, wove paper, Mount: 16 × 21 15/16 inches (40.6 ×

Tilbury Fort--Wind Against the Tide, Clarkson Stanfield, 1793–1867, British, 1853, Oil on canvas, Support (PTG): 24 x 36 1/4 inches (61 x 92.1 cm), barge, boats, buildings, dock, fishermen, gate, landscape, marine art, nets, river,

Bulls Fighting, George Stubbs, 1724–1806, British, 1786, beeswax and oil on panel, Support (PTG): 24 1/4 x 32 1/2 inches (61.6 x 82.6 cm), animal art, bulls (animals), clouds, fighting, horns, lake, landscape, sky, trees

'Scraps', no. 32: Two Mamelukes Talking, One Mounted, Henry Thomas Alken, 1785–1851, British, 1823, Graphite and red chalk on medium, slightly textured, blued white, wove paper, Sheet: 6 5/8 × 9 3/8 inches (16.8 × 23.8 cm), genre

Victoria Land South Polar Regions Mount Erebus, 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

Dancing Figure, in Profile, 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, dance, figure

'Sultan' at the Marquess of Exeter's Stud, Burghley House, Lambert Marshall, 1810–1870, British, 1826, Oil on canvas, Support (PTG): 25 x 30 inches (63.5 x 76.2 cm), animal art, boy, breeches (trousers), bucket (vessel), door,

Crow: Jackdaw, William Lewin, 1747–1795, British, before 1790, Watercolor and gouache over graphite with gum arabic on medium, smooth, white vellum, Sheet: 8 1/8 × 6 5/8 inches (20.6 × 16.8 cm), animal art, bird, branch, crow

A British Frigate Dropping Anchor, William Joy, 1803–1867, British, undated, Watercolor with scraping and gum on medium, slightly textured, cream wove paper, Sheet: 8 3/8 x 12 1/2in. (21.3 x 31.8cm) and Sheet: 8 3/8 × 12 1/2 inches (21.3

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

Hunt Followers...Moving with the Hounds to the Left, Sawrey Gilpin, 1733–1807, British, undated, Graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 9 1/16 × 13 3/4 inches (23 × 34.9 cm), dogs (animals),

Toara, 11:15 a.m., January 1, 1867 (9), Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, moderately textured, cream wove paper, Sheet: 1 7/8 x 9 3/8 inches (4.8 x 23.8 cm), boats,

The Morning of Life, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), 1860-1861, Etching, engraving and drypoint, with plate tone on thick, smooth, cream wove paper, Sheet: 8 1/2 x 11 3/4 inches (21.6 x 29.8

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

Studies of Camels Kneeling, James Bruce, 1730–1794, British, undated, Graphite on moderately thick, moderately textured, cream wove paper, Sheet: 13 × 8 3/4 inches (33 × 22.2 cm), animal art

Studies of Horses, Men and Carriages, John Linnell, 1792–1882, British, 1811, Pen, in brown ink on medium, moderately textured, blued white, wove paper, Sheet: 9 1/8 × 5 1/8 inches (23.2 × 13 cm), animal art, carriages, figure

Caracal caracal (desert lynx), 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 × 30.5 cm),

'...esq. of Nottinghamshire (B)rown Mare Almost Black', Sawrey Gilpin, 1733–1807, British, ca. 1749, Graphite on medium, moderately textured, beige, laid paper, Sheet: 8 7/16 × 11 1/4 inches (21.4 × 28.6 cm), animal art

Horseman fleeing storm, Sawrey Gilpin, 1733–1807, British, undated, Pen and brown ink, gray wash and graphite on medium, slightly textured, cream wove paper, Sheet: 8 × 14 3/4 inches (20.3 × 37.5 cm), animal art, clouds, equestrian,

King Richard the Second, Act V, Scene II (The Entrance of King Richard & Bolingbroke into London), Print made by Robert Thew, 1758–1802, British, after James Northcote, 1746–1831, British, Published by John Boydell, 1720–1804,

Crisp-Haired Horse, Primeval Black Stock, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 4 1/16 × 6 1/8 inches (10.3 ×

Between Thebes and Erment, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, cochineal, pen and brown ink on moderately thick, slightly textured, gray wove paper, Sheet: 2 5/8 x 7 3/4 inches (6.7 x 19.7 cm),

Red-capped Parakeet, Female, unknown artist, nineteenth century, after Edward Lear, 1812–1888, British, 1832, Watercolor, pen and black ink and graphite on beige board, Sheet: 18 × 14 inches (45.7 × 35.6 cm), animal art

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

A Shrew, James Sowerby, 1756–1822, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 8 1/4 × 11 7/8 inches (21 × 30.2 cm), animal art, Mammalia (class), Shrews

Two Studies of Tumbler, a Dog, James Seymour, 1702–1752, British, undated, Graphite on medium, slightly textured, cream laid paper, Sheet: 3 1/4 × 5 5/8 inches (8.3 × 14.3 cm), Mount: 12 × 14 1/4 inches (30.5 × 36.2 cm), and Binding:

A Yellow Wagtail, Thomas Atwood, ca. 1761–1766, British, undated, Watercolor, gouache and graphite on medium, slightly textured, cream laid paper, Sheet: 5 5/8 × 7 1/2 inches (14.3 × 19.1 cm), animal art, bird

The Death of the Hare, John Wootton, 1682–1764, British, ca. 1735, Oil on canvas, Support (PTG): 40 1/2 x 50 1/4 inches (102.9 x 127.6 cm), breeches (trousers), clouds, death, dogs (animals), genre subject, gesture, hare, horses

Off to the Fishing Grounds, Thomas Sewell Robins, 1814–1880, British, between 1830 and 1880, Watercolor and graphite with scratching out on thick, moderately textured, cream wove paper, Sheet: 12 x 18 1/2 inches (30.5 x 47 cm), birds,

A Young Man with a Horse, with Studies of Hounds and Dead Hare, John Hoppner, 1758–1810, British, ca. 1785, Watercolor, with pen, in brown ink, with graphite, and gouache on medium, moderately textured, beige, laid paper, Sheet: 10

'Qualified Horses and Unqualified Riders:' 'Going Along a Slapping Pace...', Henry Thomas Alken, 1785–1851, British, undated, Watercolor, pen and black ink, brown ink, and graphite on medium, slightly textured, blued white, wove paper,

Plymouth Sound from the Hoe, Nicholas Condy, 1793–1857, British, undated, Watercolor and gouache with pen and brown ink over graphite on moderately thick, moderately textured, beige wove paper, Sheet: 7 x 10 1/16 inches (17.8 x 25.6 cm),

Chamaeleonidae (Chameleon), James Bruce, 1730–1794, British, undated, Graphite on moderately thick, moderately textured, cream laid paper, Sheet: 9 × 12 3/4 inches (22.9 × 32.4 cm), animal art

Ranjit Singh, from a Painting in the Lahore Museum, 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,

Suez, David Roberts, 1796-1864, British, 1839, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 1 5/8 x 9 9/16 inches (4.1 x 24.3 cm), boats, buildings, cityscape, marine art, Africa, Suez

2 birds 'Aroust el Bahar', Luigi Balugani, 1737–1770, Italian, ca. 1768, Graphite and watercolor on medium, slightly textured, cream laid paper, Sheet: 17 3/8 × 13 1/2 inches (44.1 × 34.3 cm), animal art

Paradoxurus Dubius, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink and graphite on medium, slightly textured, , cream, wove paper, Sheet: 4 1/16 × 6 1/2 inches (10.3 × 16.5 cm), animal art

The Channel Sketchbook, Joseph Mallord William Turner, 1775–1851, British, ca. 1845, Graphite 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

'Rather Too Slow', Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, moderately textured, cream, wove paper, Sheet: 9 5/16 × 13 1/8 inches (23.7 × 33.3 cm), fence, field, galloping, horseback riders,

Rochester, Print made by James Walker, 1748–1808, British, Print made by James S. Storer, 1771–1853, British, after Joseph Mallord William Turner, 1775–1851, British, 1794, Line engraving on medium, slighty textured, cream wove

Ultima, One of Lord Maynard's Mares, William Henry Davis, active 1803–1849, British, 1815, Watercolor and graphite on moderately thick, slightly textured, cream, wove paper, Mount: 13 7/8 × 18 1/16 inches (35.2 × 45.9 cm), Sheet: 10

'Sporting Anecodotes:' Drawing for the Soft-Gound Etching of 'The Sporting Butcher', Henry Thomas Alken, 1785–1851, British, undated, Graphite and red chalk on medium, smooth, blued white, wove paper, Sheet: 8 5/16 × 12 7/16 inches (21.1

Hound Lying Down Snarling, unknown artist, nineteenth century, early 19th century, Pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 5 1/2 × 9 1/4 inches (14 × 23.5 cm), animal art

Coast Scene, Samuel Prout, 1783–1852, British, undated, Watercolor with pen and brown ink on moderately thick, slightly textured, beige wove paper, Sheet: 6 7/8 x 9 5/8 inches (17.4 x 24.4 cm), boats, chains, coast, coats, flag, genre

Study of a Working Horse, Thomas Sidney Cooper, 1803–1902, British, undated, Oil on canvas, Support (PTG): 5 15/16 x 7 15/16 inches (15.1 x 20.2 cm), bridle, equestrian, horse (animal), sporting art, study (visual work), tack

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

Studies of Figures on Horseback, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, slightly textured, cream laid paper, Sheet: 8 1/2 × 12 3/4 inches (21.6 × 32.4 cm), animal art, figure study, sporting art

Castle on Holy Island, John Varley, 1778–1842, British, 1809, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 5 1/2 x 17 7/8 inches (14 x 45.4 cm), beaches, boats, castles, cliffs, islands,

Falls of Wilberforce, Hood River, 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

Saddled Horse, Facing Right, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, moderately textured, cream, laid paper, Sheet: 9 1/2 × 12 7/8 inches (24.1 × 32.7 cm), animal art

Paradoxurus Dubius, Charles Hamilton Smith, 1776–1859, Belgian, James Stewart, 1791–1863, British, ca. 1837, Watercolor, pen and brown ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 5 × 8 inches (12.7 ×

A Donkey, Six Studies: Lying, Walking, Standing, Sitting, Robert Hills, 1769–1844, British, after 1804, Graphite on moderately thick, moderately textured, cream wove paper, Sheet: 10 3/4 x 7 5/8 inches (27.3 x 19.4 cm), animal art,

Tauraco leucotis (White-cheeked Turaco), 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 ×

Partridge Shooting, George Morland, 1763–1804, British, ca. 1790, Oil on canvas, Support (PTG): 15 7/8 x 20 1/2 inches (40.3 x 52.1 cm), dogs (animals), horse (animal), house, rifle, rural, sporting art, sportsmen

The Sporting Undergraduate, Henry William Bunbury, 1750–1811, British, 1772, Graphite, pen and black ink and watercolor on medium, slightly textured, cream laid paper, Sheet: 3 3/4 × 3 1/8 inches (9.5 × 7.9 cm), caricature, horse

New Harbour, Malta, Edward Lear, 1812–1888, British, 1866, Watercolor with pen in brown ink and gouache, over graphite on moderately thick, moderately textured, beige wove paper, Sheet: 7 1/8 x 20 7/8 inches (18.1 x 53 cm), boats,

A Horse and a dog, a Pl. for 'A New Drawing Book...of Beasts in Various Actions' (1 of 9), Print made by George Bickham, 1683/4–1758, British, after unknown artist, Published by Henry Overton, 1675/6–1751, British, undated, Etching on

William Massey-Stanley driving his Cabriolet in Hyde Park, John Ferneley, 1782–1860, British, 1833, Oil on canvas, Support (PTG): 43 1/2 x 62 1/2 inches (110.5 x 158.8 cm), animal art, animals, architecture, art, bridle, cabriolet,

The Newfoundland Dog, Original Breed, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, black ink and graphite on medium, smooth, cream, wove paper, Sheet: 4 1/2 × 7 1/8 inches (11.4 × 18.1 cm),

Horses and cows in a hilly landscape, Sawrey Gilpin, 1733–1807, British, undated, Oil on linen on Linen, Sheet: 10 5/8 x 14 7/8in. (27 x 37.8cm) and Sheet: 10 3/4 × 14 7/8 inches (27.3 × 37.8 cm), animal art, cows, horses (animals),

A Frigate in a Calm, J. Hill, active 19th century, after George Webster, 1797–1864, British, Published by Gaetano Testolini, active 1760–1811, 1811, Aquatint on moderately thick, moderately textured, cream wove paper, Sheet: 10 9/16 x

Horses and Landscape, unknown artist, nineteenth century, undated, Graphite on medium, slightly textured, cream wove paper, Sheet: 13 3/8 × 7 3/8 inches (34 × 18.7 cm), animal art, horses (animals), landscape

Jerusalem, Plate 68, 'O Skofield why art thou cruel?....', Print made by William Blake, 1757–1827, British, 1804 to 1820, Relief etching printed in orange with pen and black ink and watercolor on moderately thick, smooth, cream wove paper,

A Hoatzin? on a Branch, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on medium, smooth, cream wove paper, Sheet: 8 1/4 × 13 1/4 inches (21 × 33.7 cm), animal art, bird, branch, Great Blue Turaco

Sailing Barges and Boats in a Choppy Sea, George Chambers, 1803–1840, British, undated, Graphite, gray wash and brown wash on moderately thick, slightly textured, cream wove paper, Sheet: 6 7/8 × 11 1/8 inches (17.5 × 28.3 cm), barges,

Boat on the Nile, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, sligtly textured, cream wove paper, Sheet: 2 13/16 x 4 5/8 inches (7.1 x 11.7 cm), boat, flag, marine art, river, windows,

Fanali di Villa Franca, Monro School, unknown artist, ca. 1795, Watercolor on medium, slightly textured, cream wove paper, Sheet: 4 15/16 × 7 7/16 inches (12.5 × 18.9 cm), boats, cliffs, landscape, lateen rig, lighthouse, marine art,

Hounds and Hunters Attacking Deer, Sir Edwin Henry Landseer, 1802–1873, British, 1831, Brown and gray wash with graphite on medium, slightly textured, cream wove paper, Sheet: 11 3/8 x 17 1/8 inches (28.9 x 43.5 cm), animal art, animals,

A Dead Bird, Paul Sandby RA, 1731–1809, British, undated, Watercolor and graphite on medium, moderately textured, beige laid paper, Sheet: 2 5/8 x 5 inches (6.7 x 12.7 cm), animal art, bird, death, game (hunted animal

P. Monamy, Print made by James Bretherton, ca. 1730–1806, British, after Thomas Stubly, active 1733–1738, British, undated, Etching on medium, moderately textured, beige laid paper, Sheet: 8 3/4 x 6 15/16 inches (22.3 x 17.7 cm),

Newark - upon - Trent, Joseph Mallord William Turner, 1775–1851, British, ca. 1796, Watercolor and graphite on medium, slightly textured, cream wove paper, mounted on thick, slightly textured, cream wove paper, Sheet: 12 x 16 1/2 inches

Gebel Sheikh Embarak, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 5 1/8 x 9 1/4 inches (13 x 23.5 cm), boats, figures (representations),

Pumpkin with a Stable-lad, George Stubbs, 1724–1806, British, 1774, beeswax and oil on panel, Support (PTG): 32 3/8 x 39 7/8 inches (82.2 x 101.3 cm), animal art, autumn, boy, breeches, buckles, child, clouds, coat, fence, grasses,

Boats Loading in a River, George Bryant Campion, 1796–1870, British, undated, Graphite on medium, slightly textured, white wove paper, mounted on medium, slightly textured, cream wove paper, Sheet: 3 x 5 inches (7.6 x 12.7 cm) and Mount:

Foxhunting: Coming to a Fence (Full Cry), William J. Shayer, 1811–c.1885, British, 1863, Oil on millboard, Support (PTG): 3 3/8 x 4 7/8 inches (8.6 x 12.4 cm), animals, costume, fence, horses (animals), hunters, hunting, landscape,

Two Tigers, Sawrey Gilpin, 1733–1807, British, 1760, Watercolor, graphite, pen and black ink on medium, slightly textured, beige, laid paper, Sheet: 6 7/8 x 5 7/8in. (17.5 x 14.9cm) and Image: 6 1/2 × 5 1/2 inches (16.5 × 14 cm),

View at Chelsea of the Annual Sculling Race for Doggett's Coat and Badge, Edward Francis Burney, 1760–1848, British, undated, Watercolor, pen and black ink, gray ink, and graphite on medium, slightly textured, blued white, laid 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

The Towing Path, Print made by Francis Seymour Haden, 1818–1910, British, 1864, Etching and drypoint, with plate tone on moderately thick, slightly textured, cream antique laid paper, Sheet: 6 3/4 x 9 3/16 inches (17.2 x 23.4 cm), Plate:

The Kill, Robert Polhill Bevan, 1865–1925, British, undated, Black and red chalk on thin, brown, smooth wove paper, Sheet: 10 3/4 x 17 5/8 inches (27.3 x 44.8 cm), attack, dogs (animals), horses (animals), hunting, killing, murder,

A Military Encampment in Hyde Park, James Malton, 1761–1803, British, 1785, Watercolor, pen and black ink, and graphite on moderately thick, moderately textured, beige, laid paper, Sheet: 8 1/4 × 11 7/16 inches (21 × 29.1 cm),

A Horse, Sawrey Gilpin, 1733–1807, British, 1760, Graphite on medium, slightly textured, beige, laid paper, mounted on, moderately thick, moderately textured, blue, wove paper, Sheet: 7 13/16 × 10 3/16 inches (19.8 × 25.9 cm) and

Shipping in the Thames Estuary, Thomas Mellish, ca.1748–1782, British, between 1761 and 1766, Oil on canvas, Support (PTG): 18 1/8 x 22 1/2 inches (46 x 57.2 cm), boats, estuary, flags, hills, marine art, men, river, sailboats, sea,

Sheep Dog Sleeping, Attributed to Sir Edwin Henry Landseer, 1802–1873, British, undated, Black and white chalk on medium, smooth, beige wove paper, Sheet: 3 1/8 × 7 inches (7.9 × 17.8 cm) and Frame: 8 15/16 × 12 13/16 × 13/16 inches

A Cheetah Crouching by a Pool, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen, in brown ink, black ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 6 7/8 × 9 5/16 inches (17.5 × 23.7 cm), animal

Partridge Shooting, Henry Thomas Alken, 1785–1851, British, or possibly Samuel Henry Gordon Alken, 1810–1894, British, undated, Graphite and watercolor on thick, smooth, cream, wove paper, Sheet: 10 3/4 × 14 3/8 inches (27.3 × 36.5

Beach Scene, Richard Parkes Bonington, 1802–1828, British, ca. 1825, Watercolor with scraping out on medium, cream, smooth wove paper, Sheet: 5 3/8 x 7 1/8 inches (13.7 x 18.1 cm), beach, boat, coast, figures, marine art, ship

'The Capriole, When He Rises Before & at the Same Time Thro's Out His Hind Legs & Quarters Upon a Strait Line:' Engraved as Plate 25 in 'Twenty Five Actions of the Manage Horse...', John Vanderbank, 1694–1739, British, 1729, Pen and black

Tynemouth Pier - Lighting the Lamps at Sundown, Alfred William Hunt, 1830–1896, British, 1868, Watercolor, pen and brown ink, gouache, gum, and scraping out on medium, cream, slightly textured wove paper, Sheet: 14 5/8 x 21 1/4 inches

Four Deer, Sawrey Gilpin, 1733–1807, British, undated, Graphite, with wash on medium, moderately textured, blued white, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper, Sheet: 6 1/2 × 9 1/16 inches

At the Monte Cavallo at Rome, Print made by Placido Columbani, born ca. 1744, active 1801, Italian, active in Britain, after Placido Columbani, born ca. 1744, active 1801, Italian, active in Britain, Published by Isaac Taylor,

Bachelor's Hall: Full Cry, Francis Calcraft Turner, active 1782–1846, British, 1835 to 1836, Oil on canvas, Support (PTG): 14 x 19 inches (35.6 x 48.3 cm), animals, chasing, fields, horses (animals), hounds (dogs), hunt, hunter,

A Bird, James Sowerby, 1756–1822, British, undated, Graphite on medium, slightly textured, cream wove, Sheet: 9 × 7 1/4 inches (22.9 × 18.4 cm), animal art, Antshrikes, bird, Tufted Antshrike

Head of a Grey Arabian Horse, Martin Theodore Ward, 1799–1874, British, between 1820 and 1830, Oil on canvas on panel, Support (PTG): 8 x 6 3/4 inches (20.3 x 17.1 cm), animal art, Arabian, equestrian, horse (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), beaches, channel

River View near Rajmahal, Samuel Davis, 1757–1819, British, undated, Watercolor, graphite, and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 10 3/8 × 7 3/4 inches (26.4 × 19.7 cm), marine art, river,

'Scraps', No. 15: Racehorse with Jockey Up, Two Men Discussing the Horse, Henry Thomas Alken, 1785–1851, British, 1823, Graphite and red chalk on medium, slightly textured, blued white, wove paper, Sheet: 6 5/8 × 9 1/2 inches (16.8 ×

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), boat, channel (water

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