Images at Librifly

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A Castle at the Waterside, John Varley, 1778–1842, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 7 1/4 x 10 1/4 inches (18.4 x 26 cm), boaters, boats, castles, clouds, landscape,

Robin Hood and Clarinda hunting deer in a wooded landscape, unknown artist, eighteenth century, after Joseph Slater, c. 1750– died after 1789, undated, Engraving, Sheet: 5 1/4 × 3 1/8 inches (13.3 × 7.9 cm), arrows, bows, cap, dog

Hoopoe: Common Hoopoe, William Lewin, 1747–1795, British, before 1790, Watercolor and gouache over graphite on medium, smooth white vellum, Sheet: 8 1/4 × 6 5/8 inches (21 × 16.8 cm), animal art, beak, bird, perch

Shipping Off the Coast, follower of François Louis Thomas Francia, 1772–1839, French, active in Britain, formerly attributed to François Louis Thomas Francia, 1772–1839, French, active in Britain, undated, Watercolor over graphite on

Doves and Pheasants on two plates on one sheet for 'A New Kind of Drawing Book...of various kinds of Birds Drawn from Life by Mr. Francis Barlow' 1731 (1 of 9), Print made by George Bickham, 1683/4–1758, British, after Francis Barlow, ca.

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

English Warships Heeling in the Breeze Offshore, Willem van de Velde the Younger, 1633–1707, Dutch, active in Britain (from 1672), between 1673 and 1707, Oil on canvas, Support (PTG): 18 x 28 inches (45.7 x 71.1 cm), clouds, flags,

Los Gallos, Icacos Bay, Michel Jean Cazabon, 1814–1888, Trinidadian, active in France ca. 1839-1847, 1857, Pen and black ink, gray ink, gray wash, black wash, graphite, gouache and scratching out on moderately thick, slightly textured,

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

Dr. Syntax: On a Horse, Jumping a Gate, Derby porcelain factory, founded 1756, British, ca. 1810, Derby figure, Sheet: 7in. (17.8cm), caricature, gate, horse (animal), literary theme, sporting art

Ancona, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor and gouache on medium, moderately textured, blue wove paper, Sheet: 5 1/4 x 8 inches (13.3 x 20.3 cm), architectural subject, coastal fortifications, landscape,

Aquila chrysaetos (Golden Eagle), James Bruce, 1730–1794, British, ca. 1768, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 12 × 9 7/8 inches (30.5 × 25.1 cm), animal art

After the Race, John Willis Good, 1845–1879, British, 1875, Bronze, Overall: 10 3/4 x 11 7/8 x 4 inches (27.3 x 30.2 x 10.2 cm), horse (animal), jockey, sporting art

The Long Gallery, Louvre, James McNeill Whistler, 1834–1903, American, active in Britain (from 1859), Published by The Studio, 1894, Lithograph on moderately thick, smooth, beige wove paper, Sheet: 11 5/8 x 8 3/16 inches (29.5 x 20.8 cm)

Anatomical Study of a Horse, William Mulready, 1786–1863, Irish, undated, Pen, in brown ink on medium, moderately textured, blued white, laid paper, Sheet: 3 × 4 7/16 inches (7.6 × 11.3 cm), anatomical study, animal art, figure

Studies of Young Pallah Deer Resting, Samuel Daniell, 1775–1811, British, ca. 1802, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 6 1/8 × 8 inches (15.6 × 20.3 cm), animal art, deer, resting

Lumpsucker (Male), Peter Paillou the younger, active 1757–1831, British, undated, Watercolor and gouache on medium, slightly textured, cream vowe paper, Sheet: 15 1/8 × 21 1/2 inches (38.4 × 54.6 cm), animal art, fish, marines (visual

Marine Pier, Brighton - Sunset, Anthony Vandyke Copley Fielding, 1787–1855, British, undated, Watercolor, pen, red ink, graphite, and gum on medium, slightly textured, cream, wove paper, Sheet: 6 1/2 × 9 3/4 inches (16.5 × 24.8 cm),

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

Grey Shooting Pony, Probably the Property of Johnston King, with a Groom, Thomas Woodward, 1801–1852, British, 1835, Oil on canvas, Support (PTG): 17 x 21 inches (43.2 x 53.3 cm), costume, dog (animal), horse (animal), reins, sporting

View at Malta, Charles Dyce, active 1848, British, ca. 1849, Watercolor, graphite and pen and brown ink on medium, slighlty textured, cream wove paper, Sheet: 9 7/8 × 13 3/4 inches (25.1 × 34.9 cm), arches, cityscape, houses, marine

Port d'Arona, Charles Gore, 1729–1807, British, 1795, Watercolor, pen and black ink, gray ink, gray wash and graphite on moderately thick, moderately textured, cream laid paper, Sheet: 13 1/4 × 27 inches (33.7 × 68.6 cm), boats,

View of a Lake, 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 inches (41 cm),

Skating in the Park, John James Chalon, 1778–1854, French, active in Britain, undated, Sepia wash and watercolor on moderately thick, moderately textured, cream, wove paper, Sheet: 13 3/16 × 17 1/4 inches (33.5 × 43.8 cm), broom,

The Billiard Room, Thomas Rowlandson, 1756–1827, British, ca. 1801, Watercolor with pen and brown ink over graphite on medium, slightly textured, blued white, wove paper, Sheet: 4 11/16 x 7 3/4 inches (11.9 x 19.7 cm), billiard and pool

Henry Angelo and Madame Cain Fencing, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown and gray-brown ink on moderately thick, moderately textured, wove paper, mounted on cream, thick, rough wove paper

Bath: The New Bridge, Print made by John Robert Cozens, 1752–1797, British, 1773, Etching, hand colored with gray wash on moderatelty thick, slightly textured, beige laid paper, Sheet: 11 1/16 x 15 inches (28.1 x 38.1 cm) and Image: 9 x 13

British Troops Disembarking, Dirk Langendyck, 1748–1805, 1799, Watercolor, pen and black ink, and graphite on medium, smooth, cream wove paper, Sheet: 9 1/8 x 13 7/8 inches (23.2 x 35.2 cm), army, bayonets, horses (animals), military

The Night Riders of Nacton: The Finish. Nacton Church and Village, Henry Thomas Alken, 1785–1851, British, undated, Watercolor and gouache on medium, slighlty textured, brown wove paper, Sheet: 10 1/8 × 14 1/8 inches (25.7 × 35.9 cm) and

Le Piaffer, Dressage Position, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, moderately textured, beige, laid paper, Sheet: 9 3/16 × 11 13/16 inches (23.3 × 30 cm), animal art, sporting art

Cargo Boat, attributed to Paul Sandby RA, 1731–1809, British, undated, Watercolor and graphite on medium, cream, slightly textured laid paper, Sheet: 8 9/16 x 12 1/8 inches (21.7 x 30.8 cm), boat, cargo vessels, dog (animal), marine

The Turn Rice-Plough, Sussex, Robert Polhill Bevan, 1865–1925, British, ca. 1909, Oil on canvas, Support (PTG): 26 1/8 x 35 1/2 inches (66.4 x 90.2 cm), agriculture, animals, clouds, equipment, farmer, field, harness, horses

Pastoral, follower of George Morland, 1763–1804, British, undated, Graphite on medium, slightly textured, cream wove paper, Sheet: 8 7/8 x 5 3/8 inches (22.5 x 13.7 cm), animal art, burro, donkeys, pastoral, trough

Rider Holding on to a Gray Horse After a Fall, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 9 1/8 × 12 9/16 inches (23.2 × 31.9 cm), falling,

Shelaal, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, gouache, pen and brown ink on thick, moderately textured, blue wove paper, Sheet: 3 13/16 x 4 7/8 inches (9.7 x 12.4 cm), boat, figures (representations), genre

Ships and Militia by a Rocky Shore, Willem van de Velde the Elder, ca. 1611–1693, Dutch, active in Britain (from 1672), ca. 1680, Pen and ink on prepared canvas, Support (PTG): 25 5/8 x 38 7/16 inches (65.1 x 97.6 cm), boats, bridge (built

Gadshill, Print made by Philip Dawe, ca.1745–ca.1809, British, after James Northcote, 1746–1831, British, Published by George Dawe, 1781–1829, British, 1796, Mezzotint with hand coloring in watercolor on medium, slightly textured,

From Loch Creran, Pass of Jura, William Daniell, 1769–1837, British, 1815, Graphite on medium, slightly textured, cream wove paper, Sheet: 6 1/8 × 9 1/8 inches (15.6 × 23.2 cm), boats, figures, hills, island, lake, landscape,

Unidentified Madoqua (Dik-dik): study of head and skull, James Bruce, 1730–1794, British, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 16 × 12 inches (40.6 × 30.5 cm), animal art

An Eagle Perched on a Rock; Lion, Fox, Two Hounds and a Rooster (possibly for 'Aesop's Fables'), Samuel Howitt, 1756–1822, British, undated, Watercolor, with pen, in brown ink, and traces of graphite on medium, slightly textured, cream,

The Syrian Fox and The Egyptian Fox, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink, brown ink, gray ink and graphite on moderately thick, slightly textured, white, wove paper, Sheet: 4 3/16 × 6 1/2

Cricketers - a pair: each in iron-red cap, spotted shirt and red sash, one bowling, one batting, Staffordshire pottery, 19th-mid-19th century, Staffordshire, Sheet: 13 1/2in. (34.3cm), cricket, cricketer, sporting art

Tough, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, mounted on thick, moderately textured, cream wove paper, Sheet: 3 1/16 x 4 3/4 inches (7.8 x 12.1

Illustration to Aesop's Fables: The Fox & the Crane, Francis Barlow, ca. 1626–1704, British, undated, Pen and black ink and gray wash on medium, slightly textured, cream wove paper, Sheet: 4 7/8 × 5 7/8 inches (12.4 × 14.9 cm), animal

Tockus Jacksoni (Jackson's Hornbill), 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

Hunting Scene: The Meet, Henry Thomas Alken, 1785–1851, British, ca. 1840, Oil on canvas, Support (PTG): 18 x 24 1/4 inches (45.7 x 61.6 cm), animals, carriage, costume, cottage, dogs (animals), fence, horses (animals), hunters,

A Lugger Signaling a Passing Frigate, George Chambers, 1803–1840, British, undated, Pen and brown ink on moderately thick, rough, cream wove paper, Sheet: 6 3/4 × 10 5/8 inches (17.1 × 27 cm), Mount: 11 5/8 × 14 7/8 inches (29.5 × 37.8

Three Sportsmen Sleeping at the Table in Their Chairs, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray-brown ink, and graphite; verso: graphite on medium, slightly textured, blued white, wove paper, Sheet: 4 x

The Sentinel, Print made by Richard Ansdell, 1815–1885, British, Published by Etching Club, active 1838–1885, British, 1857, Etching on medium, slightly textured, cream wove paper, pasted on thick, slightly textured, cream card,

Men Loading a Boat with Barrels, Samuel Scott, 1701/2–1772, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 5 1/2 x 10 5/8 inches (14 x 27 cm), barrels, boat, hats, loading, marine art,

The Wreck of the Dutton, An East Indiaman, Samuel Prout, 1783–1852, British, ca. 1815, Oil on panel, Support (PTG): 14 3/8 x 19 inches (36.5 x 48.3 cm), anchor (watercraft equipment), boats, clouds, full-rigged ship, light, marine 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),

Lucknow, Upper India, Thomas Daniell, 1749–1840, British, active in India, William Daniell, 1769–1837, British, undated, Graphite on medium, slightly textured, blued white, laid paper, Sheet: 11 1/2 × 18 1/2 inches (29.2 × 47 cm),

Horse Cart, Edward Francis Burney, 1760–1848, British, undated, Pens, black ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 6 3/4 × 4 3/4 inches (17.1 × 12.1 cm), animal art, cart, horses (animals), road,

'The Cover Hack', Henry Thomas Alken, 1785–1851, British, 1827, Graphite and watercolor on medium, slightly textured, cream wove paper, Sheet: 8 × 10 1/2 inches (20.3 × 26.7 cm), dogs (animals), equestrian, horse (animal), sporting

Sheep under a tree, Sawrey Gilpin, 1733–1807, British, undated, Watercolor and graphite on thin, slightly textured, cream laid paper, Sheet: 7 3/16 x 9 13/16in. (18.3 x 24.9cm) and Sheet: 7 1/4 × 9 7/8 inches (18.4 × 25.1 cm), animal

Exercising a Racehorse, George Alken, 1794–active 1837, British, undated, Watercolor, graphite, gouache, and pen and brown ink on medium, slightly textured, blued white, wove paper, Sheet: 8 1/16 × 10 3/4 inches (20.5 × 27.3 cm),

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 Ivory Coast, West Africa, Thomas Rowlandson, 1756–1827, British, between 1810 and 1815, Watercolor, pen and brown ink, pen and gray ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 14 3/4 x 21 9/16 inches

Sleepest or Wakest Thou?, Print made by Richard Ansdell, 1815–1885, British, Published by Etching Club, active 1838–1885, British, Published by Longman, Brown, Green & Longmans, active 1804–1914, British, ca. 1853, Etching on

The Rock of Gibraltar from Algeciras (Spain), George Lothian Hall, 1825–1888, British, 1843, Watercolor, gouache, graphite and scraping out on thick, moderately textured, cream wove paper, Sheet: 6 1/4 × 10 inches (15.9 × 25.4 cm),

Monkeys (one of three on one mount), Richard Brookes, 1721–1763, ca. 1760, Pen and black ink and gray wash on medium, moderately textured, cream laid paper, Sheet: 2 3/4 × 3 1/8 inches (7 × 7.9 cm), animal art, monkeys (animals),

Henry Portman Seymour, Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), 1714, Oil on canvas, Support (PTG): 49 x 39 inches (124.5 x 99.1 cm), armor, army, camp (temporary settlement), gloves, hat, man, military

Two Studies of a Tiger; above: Head and Shoulders; below: Hindquarters, James Ward, 1769–1859, British, undated, Graphite and gray wash on moderately thick, moderately textured, beige, wove paper, mounted on, medium, moderately textured,

Ferrets, James Ward, 1769–1859, British, undated, Black and white chalk on thick, slightly textured, beige wove paper, Sheet: 9 7/8 x 13 1/4 inches (25.1 cm), animal art

View of Carlisle Bay, Barbados, with Ships and Boat, Lt. Paul Sandby, ca. 1820, ca. 1820, Gray wash with pen and black ink on medium, moderately textured, blued white paper, Sheet: 5 7/8 × 10 1/4 inches (14.9 × 26 cm), boats, marine art,

Horses, Cow and Men, unknown artist, nineteenth century, undated, Graphite on medium, slightly textured, cream wove paper, Sheet: 9 3/4 × 7 1/2 inches (24.8 × 19.1 cm), animal art, cow, horses (animals), men

Elephant with Rider, James Sowerby, 1756–1822, British, undated, Graphite on moderately thick, slightly textured, cream wove paper, Sheet: 8 1/4 × 11 3/8 inches (21 × 28.9 cm), animal art, elephants (animals), man

'The National Sports of Great Britain' 1821: Badger Catching, Henry Thomas Alken, 1785–1851, British, 1821, Graphite and watercolor on medium, slightly textured, cream, wove paper, mounted on, moderately thick, smooth, beige, wove

The Erebus & Terror in a Gale in the Pack of the Ice, 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)

'The Poacher's Progress:' Poachers Before the Magistrates, C. Blake, active 1825–1826, undated, Graphite, watercolor, and varnish on thick, moderately textured, brown, wood pulp paper, Sheet: 12 3/4 × 17 5/8 inches (32.4 × 44.8 cm),

Euplectes afer (Yellow-Crowned Bishop), 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 ×

The Sporting Parson: 'Next a Little Low Church', Hablot Knight Browne, 1815–1882, British, undated, Black chalk, watercolor and gouache on moderately thick, slightly textured, gray, wove paper, Sheet: 10 5/8 × 14 7/8 inches (27 × 37.8

A Stag Hunt in the West Country, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown and gray ink over graphite on medium, moderately textured, cream, wove paper, Sheet: 5 3/8 x 9 inches (13.7 x 22.9 cm),

Building and Repairing Masoola Boats, John Gantz, 1772–1853, 1828, Pen and black ink and watercolor on medium, moderately textured, cream wove paper mounted to card, Sheet: 6 3/8 × 9 inches (16.2 × 22.9 cm) and Mount: 8 7/8 × 11 inches

Figures on an Elephant and Other Elephant Studies, George Jones, 1786–1869, British, undated, Pen, in brown ink, and graphite on medium, slightly textured, gray, wove paper, Sheet: 6 1/4 × 5 9/16 inches (15.9 × 14.1 cm), animal art

The taking of the St. Joseph a Spanish Carracca Ship, Sept. 23 1739, by the Chester and Canterbury Men of War, this Prize was Valued at upwards of 150, 000 pounds., Print made by Remi Parr, active 1723–1750, British, after Peter Monamy,

Signal, a Grey Arab, with a Groom in the Desert, David Dalby of York, 1780–1849, British, 1820 or 1829, Oil on panel, Support (PTG): 24 1/8 x 34 3/8 inches (61.3 x 87.3 cm), animal art, camels (mammals), costume, desert, equestrian,

The Rt. Hon. Alexander Hood, Viscount Bridport, K.B., Print made by Samuel Freeman, 1773–1857, British, after Lemuel Francis Abbott, ca. 1760–1802, British, Published by Fisher, Son & Co., active 1821–1848, British, 1834, Stipple

Kneeling Female Figure, Henri Gaudier-Brzeska, 1891–1915, French, between 1910 and 1915, Pen and black ink on medium, smooth, cream wove paper, Sheet: 7 x 4 1/2 inches (17.8 x 11.5 cm), abstract art, female, figure, figure study,

The Scholar Placed in His Seat Without Styrrops, John Vanderbank, 1694–1739, British, 1729, Graphite and gray wash on moderately thick, moderately textured, cream, laid paper, Sheet: 10 3/16 × 14 1/2 inches (25.9 × 36.8 cm), columns

Boats and Men on Shore, William Anderson, 1757–1837, British, undated, Watercolor, graphite, and pen and black ink on medium, slighlty textured, cream wove paper, Sheet: 3 3/4 × 9 7/8 inches (9.5 × 25.1 cm), boats, genre subject,

Pool of London, Charles Heath, 1785–1848, British, after Peter DeWint, 1784–1849, British, Published by Hurst, Robinson & Co, active 1818–1826, British, 1825, Etching on moderately thick, slightly textured, cream wove paper,

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

A Bull Attacking a Dog, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and brown ink and graphite on medium, slightly textured, cream wove paper, Sheet: 5 1/8 × 7 1/8 inches (13 × 18.1 cm), animal art, attack, bulls, dog

Windsor Bridge, Print made by Joseph Farington, 1747–1821, British, after Joseph Farington, 1747–1821, British, Published by John & Josh Boydell, 1720–1804, British, 1792, Etching, hand-colored on thick, slightly textured, cream

Two Bulls, Sawrey Gilpin, 1733–1807, British, 1760, Graphite, brush, brown ink on moderately thick, rough, beige, laid paper, Sheet: 10 × 13 7/16 inches (25.4 × 34.1 cm), animal art

Foxhunting: Gone Away, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, pen and black ink, brown ink, and graphite on medium, slightly textured, blued white, wove paper, Sheet: 9 5/16 × 12 3/8 inches (23.7 × 31.4 cm),

At the City of Albano, 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, 1730–1807,

'Scraps', No. 8: Scenes of a Lancer and Other Cavalry, Henry Thomas Alken, 1785–1851, British, 1823, Graphite on medium, slightly textured, blued white, wove paper, Sheet: 6 13/16 × 9 3/8 inches (17.3 × 23.8 cm), cavalry, genre

James Taylor Wray of the Bedale Hunt with his Dun Hunter, Anson Ambrose Martin, active 1830–1844, British, ca. 1840, Oil on canvas, Support (PTG): 20 5/8 x 25 inches (52.4 x 63.5 cm), chair, costume, equestrian, gloves, horse (animal),

Lagg Ferry, Jura, William Daniell, 1769–1837, British, ca. 1815, Graphite on medium, slightly textured, cream wove paper, Sheet: 5 7/8 × 9 inches (15 × 22.9 cm), ferries, hills, landscape, marine art, men, mountains, path,

Mouth of the Humber, Hercules Brabazon Brabazon, 1821–1906, British, after Joseph Mallord William Turner, 1775–1851, British, undated, Watercolor and gouache with graphite and scratching out on medium, slightly textured, gray wove

Studies for the Portraits of Lord Eglinton, Lord Douglas and Lord Stradbroke in `The Waterloo Cup Coursing Meeting' (in the Walker Art Gallery), 1840, Richard Ansdell, 1815–1885, British, Formerly John Frederick Herring, 1795–1865,

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 Duke of Wellington Riding Copenhagen, Possibly Sir Thomas Lawrence, 1769–1830, British, undated, Graphite on medium, slightly textured, cream laid paper, Sheet: 7 1/4 × 5 1/2 inches (18.4 × 14 cm), armour, bridle, duke,

'Sporting Notions': 'I Have a Notion This May be Called 'Riding to the Hounds at a Smashing Rate' ', Henry Thomas Alken, 1785–1851, British, between 1831 and 1832, Graphite and red chalk on thin, slightly textured, blued white, wove paper,

Gems of the Great Exhibition No. 4: The Foreign Department, Print made by George Baxter, 1804–1867, British, 1852 or 1854, Aquatint and stipple engraving with color woodcut on medium, smooth, cream wove paper, laid on dome-shaped gold

Fighting Cocks: a Pale-Breasted Fighting Cock, Facing Rght, John Frederick Herring, 1795–1865, British, 1829, Oil on panel, Support (PTG): 9 1/8 × 8 inches (23.2 × 20.3 cm), animal art, rooster, sporting art

Lost to All Hope the Brig, Joseph Mallord William Turner, 1775–1851, British, between 1845 and 1850, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 x 12 3/4 inches (22.9 x 32.4 cm) and Frame: 17 1/4 x 23

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