Images at Librifly

search results: Art clear search

Two Riders Exercising Horses at a Gallop, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, with pen, in red ink, graphite, and gouache on medium, slightly textured, cream, wove paper, Sheet: 10 3/16 × 14 9/16 inches (25.9

Asian Openbill Stork (Anastomus oscitans), Shaykh Zayn-al-Din, active 1777–1782, Indian, 1781, Graphite and watercolor on medium, slightly textured, cream laid paper, Sheet: 21 1/4 × 29 1/8 inches (54 × 74 cm), animal art, bird, shell,

A Dog, James Sowerby, 1756–1822, British, undated, Graphite on moderately thick, slightly textured, cream wove paper, Sheet: 9 1/4 × 11 7/8 inches (23.5 × 30.2 cm), animal art, dog (animal), dogs, coyotes, wolves, jackals, and

A Male Lion, Lying Down and Half Facing Right, George Jones, 1786–1869, British, ca. 1856, Graphite, brown wash, and white gouache on medium, moderately textured, blue, wove paper, Sheet: 3 5/8 × 5 1/4 inches (9.2 × 13.3 cm), animal

Owl, Monkey and Cat from Mezzotintoes by Smith, Vol. III, Print made by unknown artist, eighteenth century, Published by John Smith, 1652–1743, British, between 1730 and 1740, Mezzotint on medium, slightly textured, cream laid paper,

Farmyard with Horses Waiting, Robert Hills, 1769–1844, British, undated, Watercolor and graphite on medium, cream, moderately textured wove paper, Sheet: 4 5/8 x 6 3/8 inches (11.7 x 16.2 cm), animal art, chickens, cows, farmyard,

Wild Indian, Philip William May, 1864–1903, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, blued white laid paper, Sheet: 7 1/16 × 2 7/8 inches (17.9 × 7.3 cm), body art, buckskin,

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

Fennec of Bruce and Red Backed Fennec, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, black ink, gray ink, red ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 11/16 × 7

Back View of a Soldier, Edmund Thomas Parris, 1793–1873, British, undated, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 3 5/16 × 1 11/16 inches (8.4 × 4.3 cm), cane, cap, epaulettes, gloves, jacket, man,

Figure on Horseback, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, slighlty textured, cream laid paper, Sheet: 7 3/8 × 8 7/8 inches (18.7 × 22.5 cm), animal art, equestrian, figure (representation), galloping, horse

'Sporting Notions': 'I Have a Notion That My Horse Looks Like 40 Guineas in the Pound', Henry Thomas Alken, 1785–1851, British, between 1831 and 1832, Graphite with red chalk on thin, smooth, blued white, wove paper, Sheet: 6 9/16 × 8 3/8

Head of a Male Lion, Unknown artist, 18th century-19th century, formerly attributed to George Stubbs, 1724–1806, British, undated, Black chalk, red chalk, and graphite on medium, slightly textured, cream laid paper, Sheet: 6 1/2 × 5

The Launching of a Ship, Thomas Rowlandson, 1756–1827, British, ca. 1800, Watercolor, pen and red ink, pen and brown ink, pen and gray ink, and graphite on medium, slightly textured, brown wove paper mounted on thick, rough, brown wove

'Rather Too Fast', Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, cream, wove paper, Sheet: 9 5/16 × 13 1/4 inches (23.7 × 33.7 cm), dogs (animals), field, galloping, horseback

Three Swans, Possibly James Sowerby, 1756–1822, British, undated, Graphite on medium, slightly textured, cream laid paper, Sheet: 8 × 4 5/8 inches (20.3 × 11.7 cm), animal art, swans

Rider on a Brown Horse Going at a Wall, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 8 15/16 × 12 3/4 inches (22.7 × 32.4 cm), dogs (animals),

Boat Building near Dinan, Brittany, Francis Danby, 1793–1861, Irish, ca. 1838, Oil on paper laid on panel, Support (PTG): 9 1/4 x 11 3/4 inches (23.5 x 29.8 cm), banks (riverbanks), boat, builders, building, city, hill, landscape,

Design for a Coin: Queis Tutum Faciant Iter, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Graphite, and incised for transfer on medium, slightly textured, blued white laid paper mounted on

An English Sloop Becalmed near the Shore, Francis Swaine, 1730–1782, British, mid-18th century, Oil on canvas, Support (PTG): 10 x 13 3/8 inches (25.4 x 34 cm), boats, buildings, clouds, dock, marine art, men, pulling, sea, seamen,

Dr. Syntax, a Bay Racehorse, Standing in a Coastal Landscape, an Estuary Beyond, James Ward, 1769–1859, British, 1820, Oil on canvas, Support (PTG): 28 1/4 x 36 1/4 inches (71.8 x 92.1 cm), equestrian, estuary, horse (animal),

A Cow Lodge with a Mossy Roof, Samuel Palmer, 1805–1881, British, active in Italy (1837–39), ca. 1829, Watercolor, gouache, and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 10 1/2 x 14 3/4 inches (26.7 x

The Wave, C. R. W. Nevinson, 1889–1946, British, 1917, Oil on canvas, Support (PTG): 20 x 30 inches (50.8 x 76.2 cm), foam, marine art, movement, ocean, rough, symbolism, texture, war, water, waves (natural events), world war,

Two Boats at Anchor, attributed to Paul Sandby RA, 1731–1809, British, undated, Watercolor and graphite with pen and brown ink on medium, cream, medium textured laid paper, Sheet: 8 x 12 3/4in. (20.3 x 32.4cm), boats, marine art

Guanaco, Jacques-Laurent Agasse, 1767–1849, Swiss, active in Britain (from 1800), ca. 1848, Oil on canvas, Support (PTG): 14 x 12 inches (35.6 x 30.5 cm), animal art, field, guanaco, hills, landscape, light, mountains, South America

Laying Storm Anchors, Cornelius Varley, 1781–1873, British, undated, Watercolor, white gouache, pen and brown ink, and graphite on medium, cream, slightly textured wove paper, Sheet: 7 x 4 1/2 inches (17.8 x 11.4 cm) and Mount: 8 1/8 x 5

Dismounted Rider Breaking Open a Fence for Foxhounds to Pass Through, John Frederick Tayler, 1802–1889, British, undated, Graphite and brown wash on medium, slightly textured, cream, wove paper, Sheet: 6 13/16 × 8 3/16 inches (17.3 ×

Marine Study No. 2, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Willem van de Velde the Elder, (?), ca. 1611–1693, Dutch, active in Britain (from 1672), after Willem van de Velde the Younger,

Studies for or after 'The third Duke of Richmond with the Charleton Hunt', George Stubbs, 1724–1806, British, late 1750s, Oil on four pieces of paper conjoined on canvas, Support (PTG): 10 1/4 x 11 7/8 inches (26 x 30.2 cm), anxiety,

The Death, 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 5/8 × 10 11/16

North American Lynx, Samuel Howitt, 1756–1822, British, ca. 1817, Watercolor and pen and brown ink over graphite on medium, slightly textured, cream wove paper, Sheet: 9 × 6 3/4 inches (22.9 × 17.1 cm), animal art, branch, lynx, tree

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 Seven Bold Swabians - Who Sallied forth with One Spear, Vide Fairy Ring, Print made by John Doyle ('H.B.'), 1797–1868, Irish, Printed by Thomas McLean, 1788–1875, British, Published by Thomas McLean, 1788–1875, British, 1847,

Turbaned Cavalryman on a Horse, Henry Thomas Alken, 1785–1851, British, undated, Graphite on medium, smooth, cream, wove paper, Sheet: 6 1/2 × 5 1/16 inches (16.5 × 12.9 cm), cavalry, genre subject, horse (animal), horseback riders,

Sketch of a Horse, Sawrey Gilpin, 1733–1807, British, undated, Graphite on moderately thick, moderately textured, beige, laid paper, Sheet: 11 1/16 × 13 3/4 inches (28.1 × 34.9 cm), animal art

Low Tide and Evening Star, Sir Frank Short, 1857–1945, British, 1888, Etching on laid paper, Sheet: 9 x 14in. (22.9 x 35.6cm) and Plate: 7 1/4 x 10 1/4in. (18.4 x 26cm), boats, marine art, water

Crane and Frogs, Samuel Howitt, 1756–1822, British, after 1813, Graphite on medium, slightly textured, cream wove paper, Sheet: 7 3/8 × 5 3/4 inches (18.7 × 14.6 cm), animal art, crane (bird

Unidentified Bird, 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), animal art

Woodcock Shooting, William Heath, 1795–1840, British, undated, Watercolor, with pen, in brown ink, touched with gum arabic, gouache and traces of graphite on medium, slightly textured, beige, wove paper, Sheet: 9 11/16 × 7 3/16 inches

Sketches of Standing Figures and Bulls, Lahore, 18 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),

Two Horses Walking to Left, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, slightly textured, beige, laid paper, Sheet: 6 7/8 × 10 7/16 inches (17.5 × 26.5 cm), animal art

Feral Dog of St. Domingo, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor pen and black ink, gray ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 5/8 × 7 7/16 inches (11.7 × 18.9 cm), animal

Drawing for 'Specimens of Riding near London:' The Pleasure of Riding in Company. One Would Stop if the Other Could, Henry Thomas Alken, 1785–1851, British, between 1809 and 1823, Graphite and red chalk on thin, slightly textured, blued

Pheasant Shooting, Robert Dighton, 1752–1814, British, before 1801, Watercolor, pen and black ink, gray ink, graphite and gouache on medium, moderately textured, blued white, laid paper, Sheet: 10 1/16 × 14 1/2 inches (25.6 × 36.8

Vauxhall Bridge, John Varley, 1778–1842, British, ca. 1816, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 11 3/8 x 14 7/8 inches (28.9 x 37.8 cm), architectural subject, bridges (built works),

Shipping in a Choppy Sea, Follower of William Owen, 1769–1825, British, Previously Samuel Owen, 1768–1857, British, undated, Watercolor and graphite with scratching out on medium, slightly textured, cream laid paper, Sheet: 7 1/2 x 10

A Magpie in a Tree, James Sowerby, 1756–1822, British, undated, Graphite on thick, moderately textured, cream wove paper, Sheet: 10 3/8 × 13 inches (26.4 × 33 cm), animal art, branch, magpie, tree

Evening at Sea, Alfred Abram Constable, 1826–1853, British, or Lionel Constable, 1828–1887, British, formerly John Constable, 1776–1837, British, undated, Graphite and blue wash on medium, slightly textured, beige wove paper,

South East View of Fort George, Madras, Thomas Daniell, 1749–1840, British, active in India, William Daniell, 1769–1837, British, January 1793, Graphite on thin, slightly textured, cream and brown laid paper, mounted on, moderately

Action off the Cape of Good Hope, Samuel Scott, 1701/2–1772, British, ca. 1757, Oil on canvas, Support (PTG): 26 1/4 x 37 1/4 inches (66.7 x 94.6 cm), battle, fire, flag, French, marine art, men, merchants, navy, sea, ships, ships

Victorious, with Jockey Up, James Seymour, 1702–1752, British, undated, Graphite on medium, moderately textured, beige, laid paper, Sheet: 5 7/16 × 7 1/2 inches (13.8 × 19.1 cm), figure study, horse (animal), horse racing, jockey,

A Three-fingered Sloth, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 7/8 × 9 1/2 inches (30.2 × 24.1 cm), animal art, Mammalia (class),

Halo with Three Parhelia, Winter Harbour Melville Island, 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

Study of a Skull (cat family? - fragment of an indistinguishable sketch), Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, slighlty textured, cream wove paper, Sheet: 6 5/8 × 9 inches (16.8 × 22.9 cm), animal art, cat,

'The Gallop with Left Leg:'Engraved as Plate 15 in 'Twenty Five Actions of the Manage Horse...', John Vanderbank, 1694–1739, British, 1729, Pen, in brown ink on medium, moderately textured, brown, laid paper, Sheet: 6 5/8 × 5 15/16

Study of a camel's head, Sawrey Gilpin, 1733–1807, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 7 × 5 1/4 inches (17.8 × 13.3 cm), animal art, camel (mammal), head, wash

Fishing Barge, Thomas Daniell, 1749–1840, British, active in India, ca. 1789, Graphite with gray wash on medium, slightly texture, cream laid paper, Sheet: 5 1/2 x 8 5/8 inches (14 x 21.9 cm), barge, fishing, marine art, ropes, water

Man and Children with a Street Organ and a Monkey, Thomas Heaphy, 1775–1835, British, undated, Watercolor, with pen in gray ink, gouache, and graphite on medium, slightly textured, cream, wove paper, Sheet: 14 9/16 × 12 3/4 inches (37

Steeplechasing: The Field Jumping Into and Out of a Lane, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on moderately thick, moderately textured, beige, wove paper, Sheet: 10 1/4 × 14 3/8 inches (26 × 36.5 cm),

The Rising Moon, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), 1857, Etching and drypoint, with plate tone on thick, slightly textured, cream wove paper with cream chine collé, Sheet: 10 7/8 x 16 3/8

Cleopatra on the Cydnus to Meet Antony, Alfred Edward Chalon, 1780–1860, British, ca. 1821, Brown ink with gray wash and scraping over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 19 1/2 x 14 3/8 inches (49.6 x

A Barbastelle Bat, James Sowerby, 1756–1822, British, 1798, Graphite on medium, slightly textured, cream wove paper, Sheet: 7 1/8 × 6 1/2 inches (18.1 × 16.5 cm), animal art, bat (animal), Western Barbastelle

Pheasant Shooting, Samuel John Egbert Jones, active 1820–1845, British, mid-19th century, Oil on canvas, Support (PTG): 10 x 12 1/8 inches (25.4 x 30.8 cm), autumn, birds, dog (animal), guns, pheasants, rifle, rural, sporting art,

Negadeh, 1:45 pm, 17 January 1867 (190), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and gray and green chalk and gouache, over graphite on moderately thick, moderately textured, beige wove paper, Sheet: 3 5/8 × 9 1/2

A Porpoise?, James Sowerby, 1756–1822, British, undated, Graphite on medium, slighlty textured, cream wove paper, Sheet: 7 3/4 × 12 3/4 inches (19.7 × 32.4 cm), animal art, Mammalia (class

Ravager, One of the Lambton Hounds, James Ward, 1769–1859, British, 1835, Oil on panel, Support (PTG): 9 1/2 x 13 1/2 inches (24.1 x 34.3 cm), dog (animal), rural, sporting art

Turkish Dog-Fox, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, gray ink and graphite on moderately thick, smooth, white, wove paper, Sheet: 4 13/16 × 7 1/4 inches (12.2 × 18.4 cm), animal art

Evening, 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 thick,

St. James's Park, George Morland, 1763–1804, British, between 1788 and 1790, Oil on canvas, Support (PTG): 16 x 19 inches (40.6 x 48.3 cm), bonnet, cape, children, cow, dog (animal), genre subject, military art, milk, shawls,

Horse and Rider Walking to Left in a Hilly Landscape, Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), undated, Pen, in brown ink, brown wash, graphite and gouache on moderately thick, moderately textured, beige, laid

Pigeon Parrakeet, unknown artist, nineteenth century, after Edward Lear, 1812–1888, British, 1832, Watercolor and graphite on wove paper, Sheet: 19 x 12in. (48.3 x 30.5cm), animal art, bird, branch, leaves, pigeon

Yellow Mongoose, Charles Hamilton Smith, 1776–1859, Belgian, James Stewart, 1791–1863, British, ca. 1837, Watercolor, pen and brown ink, and graphite on thick, slightly textured, cream, wove paper, Sheet: 5 3/8 × 8 1/16 inches

Hunting Scene: In Full Cry, Henry Thomas Alken, 1785–1851, British, ca. 1840, Oil on canvas, Support (PTG): 18 x 24 1/8 inches (45.7 x 61.3 cm), animals, costume, dogs (animals), greyhounds (breed), horses (animals), hunters, hunting,

A Cutter in a Strong Breeze, Charles Brooking, 1723–1759, British, ca. 1750, Oil on copper, Support (PTG): 7 x 10 inches (17.8 x 25.4 cm), boats, clouds, cutter (sailing vessel), marine art, sailboats, sea, seascape, waves (natural

The Shyer suddenly Departs but not in Peace, Hablot Knight Browne, 1815–1882, British, undated, Red chalk, Sheet: 5 5/8 × 4 5/16 inches (14.3 × 11 cm) and Frame: 9 1/8 × 7 13/16 × 5/16 inches (23.2 × 19.8 × 0.8 cm), animal art,

'The Poacher's Progress:' Poachers Scuffling with the Constables in the Skittle Ground, C. Blake, active 1825–1826, undated, Graphite, watercolor, and varnish on thick, moderately textured, brown, wood pulp paper, Sheet: 12 11/16 × 17

The Beach at Charmouth, John Baverstock Knight, 1785–1859, British, undated, Watercolor with pen and brown ink over graphite on medium, slightly textured, blued white, wove paper, Sheet: 12 1/2 × 19 7/8 inches (31.8 × 50.5 cm), beach,

Ages of the Horse: The Foal, The Colt, The Racer, The Hunter, The Post-Horse, Food for the Hounds, Thomas Rowlandson, 1756–1827, British, undated, Graphite on medium, slightly textured, cream, laid paper and wove paper, mounted on

The Hurduar Looking Up the River, Samuel Davis, 1757–1819, British, undated, Watercolor, pen and black ink, gray ink, graphite, and scratching out on moderately thick, moderately textured, beige, laid paper, mounted on, thick,

The Caledonian Coursing Meeting, Richard Ansdell, 1815–1885, British, 1844, Oil on canvas, Support (PTG): 61 1/8 × 119 15/16 inches (155.3 × 304.6 cm), castle, club (association), costume, dogs (animals), estuary, field, greyhounds

A Polar Bear, Asleep, Front View, George Jones, 1786–1869, British, ca. 1856, Graphite, pen, in brown ink, brown wash, and white gouache on medium, moderately textured, blue, wove paper, Sheet: 3 3/8 × 5 inches (8.6 × 12.7 cm),

Death of Captain Alexander Hood, Print made by Samuel William Reynolds, 1773–1835, British, after James Northcote, 1746–1831, British, 1798, Mezzotint on moderately thick, moderately textured, cream, wove paper, Sheet: 22 1/8 × 26

The Seine with Notre Dame, Frederick Nash, 1782–1856, British, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 6 15/16 × 10 3/4 inches (17.6 × 27.3 cm), barges, boats, bridge (built

Shipping Scene, with Fishermen, Joseph Mallord William Turner, 1775–1851, British, between 1815 and 1820, Brown wash, brushed brown ink and scraping out on medium, slightly textured, cream wove paper, Sheet: 8 1/2 x 11 1/2 inches (21.6 x

View near Walton on Naze, Lionel Constable, 1828–1887, British, and Alfred Abram Constable, 1826–1853, British, formerly John Constable, 1776–1837, British, undated, Watercolor with pen and brown ink over graphite with scratching out

Study of a Crouching Fox, Facing Right, John Frederick Lewis, 1804–1876, British, undated, Watercolor, graphite and gouache on medium, slightly textured, beige, wove paper, Sheet: 6 3/4 × 10 1/8 inches (17.1 × 25.7 cm), animal art,

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

Action at Kowloon, Lt. Joseph Sparkhall Rundle, 1815–1880, 1839, Watercolor and graphite on medium, slightly textured, cream wove paper mounted thick, moderately textured, cream wove paper, Sheet: 8 5/8 x 10 5/8in. (21.9 x 27cm) and Mount:

Portrait of a Two-Year-Old Ewe, of the New Leicestershire Kind, Print made by Francis Jukes, 1747–1812, British, after John Boultbee, 1753–1812, British, 1802, Etching and aquatint with hand coloring on medium, slightly textured, cream

Grey Arabian stallion, the property of Sir Watkin Williams-Wynn, James Ward, 1769–1859, British, ca. 1817, Oil on canvas, Support (PTG): 39 x 49 inches (99.1 x 124.5 cm), Arabian, equestrian, horse (animal), portrait, sporting 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

Banded Palm Civet, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor and graphite on medium, smooth, white, wove paper, Sheet: 4 1/16 × 6 1/2 inches (10.3 × 16.5 cm), animal art, zebra (mammal

Illustration for R.S. Surtees', 'The Analysis of the Hunting Field:' Full Cry: 'Let's Keep the Lead', Henry Thomas Alken, 1785–1851, British, undated, Watercolor over etched outline, with gouache, and pen in black ink on medium, slightly

'Topping a Park fence and doing the thing easy', 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), equestrian, horse

Stag Hunting: Rider With Hounds About to Bring the Stag Down, Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), undated, Graphite and gray wash on medium, moderately textured, cream, laid paper, Sheet: 9 1/2 × 7 3/8

Distress, Thomas Rowlandson, 1756–1827, British, 1790 to 1795, Watercolor with pen and brown and red ink over graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 12 3/16 x 17 1/16 inches (31 x 43.3 cm), boat,

The Day of Judgment, Print made by Luigi Schiavonetti, 1765–1810, Italian, after William Blake, 1757–1827, British, Text by Robert Blair, 1699–1746, British, Published by Rudolf Ackermann, 1764–1834, British, 1808, published

The Tower from the River, 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

Calliope Tschebaiswi Prjer (Thrush Family), John Gould, 1804–1881, British, undated, Watercolor and gouache over graphite on moderately thick, smooth, cream wove paper, Sheet: 18 3/4 × 14 1/8 inches (47.6 × 35.9 cm), animal art

Head of a Lion, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, moderately textured, beige, laid paper, mounted on moderately thick, slightly textured, cream, wove paper, Sheet: 7 9/16 × 8 15/16 inches (19.2 × 22.7

search results: Art clear search