Images at Librifly

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Four Cows in a Field, Sawrey Gilpin, 1733–1807, British, undated, Graphite on thin, slightly textured, beige, laid paper, Sheet: 4 × 7 1/8 inches (10.2 × 18.1 cm), animal art

Sunset on the Thames, Francis Seymour Haden, 1818–1910, British, 1865, Etching and drypoint, with plate tone on medium, slightly textured, cream laid paper, Sheet: 7 1/16 x 9 13/16 inches (17.9 x 25 cm), Plate: 5 1/4 x 8 3/8 inches (13.4

Two Pointers, Facing Left, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on moderately thick, smooth, cream, wove paper, Sheet: 9 1/8 × 10 15/16 inches (23.2 × 27.8 cm), animal art

Ships Anchored Offshore in a Calm Sea, 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,

Clypeasteroida (Sand Dollar), 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

Royal Yacht Becalmed at Anchor, Peter Monamy, 1681–1749, British, between 1710 and 1730, Oil on canvas, Support (PTG): 30 1/8 x 45 1/2 inches (76.5 x 115.6 cm), anchor (watercraft equipment), birds, boys, clouds, figures, flags,

Muly Moloch, Benjamin Marshall, 1768–1835, British, 1803, Oil on canvas, Support (PTG): 40 x 50 inches (101.6 x 127 cm), animal art, bottle, carriage, clouds, costume, fur, horse (animal), horses (animals), light, men, roof,

A Crane, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 9 7/8 × 12 inches (25.1 × 30.5 cm), animal art, crane (bird

A Spider and Web with Blue Flowers, Joseph Crawhall, 1861–1913, British, undated, Watercolor, and pen and black ink on thin, moderately textured, beige, fabric, Sheet: 7 3/16 × 8 7/8 inches (18.3 × 22.5 cm), animal art

Tabeen Berlin, 4:00 p.m., January 1, 1867 (16), Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on medium, moderately textured, beige, laid paper, mounted on moderately thick, rough,

A Paddle-steamer in a Storm, Joseph Mallord William Turner, 1775–1851, British, ca. 1841, Watercolor, graphite and scratching out on medium, slightly textured, cream wove paper, Sheet: 9 1/8 x 11 3/8 inches (23.2 x 28.9 cm), air, clouds,

Heterohyrax brucei (Yellow-Spotted Rock Hyrax), James Bruce, 1730–1794, British, ca. 1768, Watercolor, pen iand brown ink, over graphite on medium, slightly textured, cream laid paper, Sheet: 12 3/8 × 9 3/4 inches (31.4 × 24.8 cm),

Cutter Close Hauled in a Fresh Breeze, with Other Shipping, Charles Brooking, 1723–1759, British, ca. 1750, Oil on canvas, Support (PTG): 42 x 66 inches (106.7 x 167.6 cm), boats, cutter (sailing vessel), Dutch, flags, marine art,

Ducks on a Pond, Newton Limbird Smith Fielding, 1799–1856, British, 1833, Watercolor, pen and black ink, brown ink, graphite, gum arabic, and gouache on medium, slightly textured, beige, wove paper, Sheet: 2 1/2 × 4 inches (6.4 ×

A Village Snow Scene, Robert Hills, 1769–1844, British, 1819, Watercolor and gouache over graphite with scraping out on thick, moderately textured, beige wove paper, Sheet: 12 5/8 x 16 15/16 inches (32 x 43.1 cm), animal art, animals,

View of the Tryall in Two Positions, Nicholas Pocock, 1740–1821, British, 1779, Pen and black ink and gray wash over graphite on medium, slightley textured, cream laid paper, Sheet: 15 1/8 × 21 1/8 inches (38.4 × 53.7 cm), boats, coat

Ham Court, the Seat of John Martin, Esq., Print made by James Caldwall, 1739–1819, British, undated, Etching and line engraving on medium, slightly textured, cream wove paper, Sheet: 11 1/4 x 10 1/4 inches (28.6 x 26 cm), Plate: 9 5/16 x

The Indian Rhinoceros, Thomas Daniell, 1749–1840, British, active in India, ca. 1790, Oil on canvas, Support (PTG): 32 x 27 inches (81.3 x 68.6 cm), boulder, Indian, landscape, oval, rhinoceros, sporting art, trees, Asia, India

Drivers and Burros Resting at Sunset, William Payne, active 1850s, British, undated, Watercolor and graphite on medium, moderately textured, cream wove paper mounted on moderately thick slightly textured, brown wove paper, Sheet: 10 7/8 × 6

A Capuchin, Peter Paillou the younger, active 1757–1831, British, undated, Gouache on medium, slightly textured, cream laid paper, Sheet: 21 5/8 × 15 1/8 inches (54.9 × 38.4 cm), animal art, monkey (animal), perch

The Newbus Ox, Print made by William Ward, 1766–1826, British, after Thomas Weaver, 1774–1843, British, 1812, Mezzotint with hand coloring on thick, slightly textured, cream wove paper, Sheet: 20 1/8 x 24 1/8 inches (51.1 x 61.3 cm)

Tiger Hunting in the East Indies, Thomas Daniell, 1749–1840, British, active in India, 1798, Oil on canvas, Support (PTG): 32 5/8 x 50 inches (82.9 x 127 cm), elephants (animals), musical instruments, spears, sporting art, tiger, Asia,

Standing cow facing right and a cow lying down, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, slighlty textured, cream laid paper, Sheet: 6 7/8 × 11 5/8 inches (17.5 × 29.5 cm), animal art, cow, standing

Saddled Horse Facing Left, James Seymour, 1702–1752, British, undated, Graphite on medium, slightly textured, cream laid paper, Sheet: 6 3/8 × 8 5/8 inches (16.2 × 21.9 cm), Mount: 12 × 14 1/4 inches (30.5 × 36.2 cm), and Binding: 12

The Isabella Quagga, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink, and graphite on mediium, slightly textured, cream, wove paper, Sheet: 3 15/16 × 6 1/2 inches (10 × 16.5 cm), animal art

A Struggle With a Load of Clay, James Abbott Pasquier, active 1851–1872, 1855, Watercolor, pen and brown ink, graphite, and gouache on medium, slightly textured, brown, wove paper, Mount: 8 3/8 × 13 1/2 inches (21.3 × 34.3 cm),

A Monkey and Young, Samuel Howitt, 1756–1822, British, after 1799, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, Sheet: 5 1/8 × 7 1/8 inches (13 × 18.1 cm), animal art, cliff, falling,

Study of a Mounted Jockey, Facing Left, June 3rd, 1744, James Seymour, 1702–1752, British, 1744, Graphite on medium, slightly textured, cream, laid paper, Sheet: 10 3/16 × 6 5/16 inches (25.9 × 16 cm), figure study, horse racing,

A Horse Frightened by a Lioness, unknown artist, eighteenth century, after George Stubbs, 1724–1806, British, ca. 1800, Enamel plaque, Support (PTG): 3 13/16 x 4 11/16 inches (9.7 x 11.9 cm) and Overall: 9 1/2 × 11 × 1 1/2 inches (24.1 ×

Two Cows on a Hill, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, moderately textured, cream, wove paper, mounted on, moderately thick, slightly textured, cream, wove paper, Sheet: 5 5/8 x 8 3/16in. (14.3 x 20.8cm)

The Hyena of Albara, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink, black ink, brown ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 1/2 × 7 1/8 inches (11.4 × 18.1 cm),

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

South American Porcupine, James Sowerby, 1756–1822, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 11 3/4 × 8 3/8 inches (29.8 × 21.3 cm), animal art, Brazilian Porcupine, Mammalia

Unidentified Ungulate, James Bruce, 1730–1794, British, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 13 1/8 × 15 inches (33.3 × 38.1 cm), animal art

The Maniac, Thomas Rowlandson, 1756–1827, British, 1787, Watercolor and graphite with pen and black ink on medium, moderately textured, cream laid paper, Mount: 7 13/16 x 8 13/16 inches (19.8 x 22.4 cm) and Sheet: 6 13/16 x 7 13/16 inches

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, pen and red ink, graphite, red chalk and gold leaf on

The Young Squire (tail piece), Print made by Alfred W. Cooper, active 1850–1901, British, after Alfred W. Cooper, active 1850–1901, British, undated, Wood-engraving with hand coloring on moderately thick, slightly textured, cream wove

Study of a horse lying down, Sawrey Gilpin, 1733–1807, British, undated, Graphite; verso: graphite on thin, slightly textured, cream wove paper, Sheet: 9 11/16 x 14 inches (24.6 x 35.6 cm), animal art, horse (animal

Mr. Plumer's Horse, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, moderately textured, cream laid paper, Sheet: 9 3/16 x 9 5/16 inches (23.3 x 23.7 cm), animal art, horse (animal

River View with a Junk (near Rajmahal?), Samuel Davis, 1757–1819, British, between 1777 and 1808, Watercolor, graphite and pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 10 3/8 × 7 7/8 inches (26.4 × 20 cm),

Reminiscence of Gainsborough, Robert Hills, 1769–1844, British, undated, watercolor and graphite on medium, rough, beige wove paper, Sheet: 3 1/2 x 4 1/4 inches (8.9 x 10.8 cm), animal art, cows, figures, landscape, path, trees

Lord Rivers's Stud Farm, Stratfield Saye, Jacques-Laurent Agasse, 1767–1849, Swiss, active in Britain (from 1800), 1807, Oil on canvas, Support (PTG): 60 x 84 inches (152.4 x 213.4 cm), animal art, animals, boys, children, clouds,

Eagles, James Ward, 1769–1859, British, undated, Pen in brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 13 5/16 × 19 15/16 inches (33.8 × 50.6 cm), animal art, birds

A Black Leg Detected Secreting Cards, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, with pen and gray ink on medium, smooth, cream wove paper, Sheet: 5 x 7 13/16 inches (12.7 x 19.8 cm), cards, chair, crutch, doorway,

Tyrolese Hunters, John Frederick Lewis, 1804–1876, British, between 1827 and 1828, Watercolor, white gouache, graphite with pen and brown ink on medium, slightly textured, beige wove paper mounted on heavy card, Sheet: 11 x 8 1/8 inches

Unidentified Sunbird, 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

Studies of a Suit of Armor, Edward Burne-Jones, 1833–1898, British, 1875, Graphite, watercolor, and gouache on thick, moderately textured, brown, wove paper, Sheet: 16 3/4 x 12 3/4 inches (42.5 x 32.4 cm), armor, helmets, military

Zebra, Print made by Thomas Bewick, 1753–1828, British, 1799, Wood-engraving on medium, smooth, cream wove paper, Sheet: 9 11/16 x 14 5/8 inches (24.6 x 37.2 cm), Plate: 7 x 9 1/2 inches (17.8 x 24.2 cm), and Image: 3 7/8 x 4 5/8 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

Symptoms: of to be Sold, of Despair, of Who is There, of Sold and Had Him a Week, Henry Thomas Alken, 1785–1851, British, between 1818 and 1822, Graphite and red chalk on medium, slightly textured, blued white, wove paper, Sheet: 7 1/8

Setting Off for the Chase: The Huntsman Leading out a Pack of Harriers followed by the Master and the Whipper-In, James Seymour, 1702–1752, British, undated, Gouache on medium, slightly textured, cream wove paper mounted on stretched canvas,

The Duchess of York's Spaniel, Henry Bernard Chalon, 1771–1849, British, 1804, Oil on millboard, Support (PTG): 7 x 8 5/8 inches (17.8 x 21.9 cm), animal art, dog (animal), Spaniel

Hind Legs and Tail of a Horse, James Seymour, 1702–1752, British, undated, Pen, in brown ink, and graphite on medium, moderately textured, cream, laid paper, mounted on, thick, smooth, cream, wove paper, Mount: 10 3/4 × 9 1/8

A Dog, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 8 1/4 × 11 3/4 inches (21 × 29.8 cm), animal art, dog (animal), dogs, coyotes, wolves,

Study of a Deer Resting, back view, Samuel Daniell, 1775–1811, British, ca. 1801, Graphite and watercolor on medium, slightly textured, cream laid paper, Sheet: 4 5/8 × 5 7/8 inches (11.7 × 14.9 cm), animal art, deer, resting

'Scraps', No. 28: Skittle Alley With Players and Spectators, Henry Thomas Alken, 1785–1851, British, 1823, Graphite and red chalk on medium, slightly textured, blued white, wove paper, Sheet: 6 13/16 × 9 5/16 inches (17.3 × 23.7 cm),

Mallard Duck and Other Birds, unknown artist, eighteenth century, Formerly attributed to Francis Barlow, ca. 1626–1704, British, Formerly attributed to Marmaduke Cradock, 1660–1716, British, ca. 1700, Oil on canvas, Support (PTG): 21

Venice, The Mouth of the Grand Canal, Joseph Mallord William Turner, 1775–1851, British, ca. 1840, Watercolor on medium, slightly textured, cream wove paper, Sheet: 8 3/4 x 12 1/2 inches (22.2 x 31.8 cm), boats, buildings, canal,

Hecla and Griper, 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),

A Third-Rate in Coastal Waters, Samuel Atkins, active 1787–1808, British, active in the East Indies (1796–1804), 1788, Pen and black ink and watercolor on medium, moderately textured, cream wove paper, Sheet: 6 x 8 in. (15.2 x 20.3 cm)

A Hawking Party, Jan Wyck, ca. 1645–1700, Dutch, active in Britain (from ca. 1664), undated, Pen and black ink, gray ink, gray wash and graphite on medium, moderately textured, beige, laid paper, mounted on, medium, slightly textured,

Vanity Fair: Newpapermen; 'An Art Critic', Mr. Joseph William Comyns Carr, February 11, 1893, Leslie Matthew 'Spy' Ward, 1851–1922, British, 1893, Chromolithograph

'Doing the Thing: and the Thing Done:' Morning. Turning Out in Prime Twig. Doing the Least you Can, Henry Thomas Alken, 1785–1851, British, 1818, Watercolor, with pen, in brown ink, red ink, black ink, and green ink, over graphite on

A Cow, John Crome, 1768–1821, British, undated, Graphite on medium, lightly textured, beige laid paper, Sheet: 4 1/8 x 6 3/8in. (10.5 x 16.2cm), animal art, cow, grass, grazing

Swishing a Rasper, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, gouache and graphite on medium, slightly textured, beige wove paper mounted to card, Sheet: 8 1/4 × 11 3/8 inches (21 × 28.9 cm), equestrians, fox hunting,

A Wherry Taking Passengers out to Two Anchored Packets, William Anderson, 1757–1837, British, 1825, Oil on panel, Support (PTG): 10 1/2 x 13 1/8 inches (26.7 x 33.3 cm), barges (ships' boats), boats, brigantines, brigs, costume, cutters

A Hound and a Bearded Collie seated on a Hunting Coat, John Frederick Herring, 1795–1865, British, 1855, Oil on paper laid on canvas, Support (PTG): 9 3/4 × 13 1/2 inches (24.8 × 34.3 cm), animal art, coat, dogs (animals

A Tiger Lying in the Entrance of a Cave, Elizabeth Pringle, active ca. 1800, 1796, Graphite and pen and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 19 1/4 x 24 inches (48.9 x 61 cm), animal art, cave, tiger

Admiral George Edgcumbe, first Earl of Mount Edgcumbe, Edward Fisher, 1722–1785, British, after Sir Joshua Reynolds RA, 1723–1792, British, 1760, Mezzotint on moderately thick, slightly textured, beige laid paper, Sheet: 15 3/16 × 10

Album of 34 Drawings of Animals and Birds from The Bruce Archive, 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

A Party Angling, George Morland, 1763–1804, British, 1789, Oil on canvas, Support (PTG): 25 x 30 inches (63.5 x 76.2 cm), breeches, caraco, chemise, conversation piece, fish, fishing, men, party, river, riverbank, rod, rowboat,

In Portsmouth Harbor, George Jackson, active 1839–1844, undated, Watercolor, with pen, in brown ink, graphite, gouache, and scratching out on medium, smooth, cream, wove paper, Sheet: 3 3/8 × 4 3/16 inches (8.6 × 10.6 cm) and Image:

Rider on a Galloping Horse, Julius Caesar Ibbetson, 1759–1817, British, undated, Black wash and graphite on medium, slightly textured, beige, wove paper, Sheet: 8 1/8 × 12 1/8 inches (20.6 × 30.8 cm), galloping, horse (animal),

The Cock Sparrow, George Edwards, 1694–1773, British, undated, Gouache and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 11 5/8 × 9 inches (29.5 × 22.9 cm), animal art, bird, branch, houses, rural areas

A Bay Racehorse with Jockey Up, James Seymour, 1702–1752, British, ca. 1730, Oil on canvas, Support (PTG): 12 x 14 inches (30.5 x 35.6 cm), costume, equestrian, horse (animal), portrait, recreation, reins, sporting art

Tsavo Lion, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream, wove paper, Sheet: 4 5/16 × 6 13/16 inches (11 × 17.3 cm), animal art

A Man in an enclosed Carriage being pulled by a Horse with a Rider, Hablot Knight Browne, 1815–1882, British, undated, Graphite, Sheet: 5 3/4 × 7 1/2 inches (14.6 × 19.1 cm) and Frame: 8 15/16 × 10 15/16 × 13/16 inches (22.7 × 27.8 ×

Staghunt, Jan Wyck, ca. 1645–1700, Dutch, active in Britain (from ca. 1664), undated, Brown wash and white gouache on medium, slighlty textured, cream wove paper, Sheet: 18 3/4 x 12 7/8 inches (47.6 x 32.7 cm), animal art, deer, hunt,

A Bird, James Sowerby, 1756–1822, British, undated, Graphite and watercolor on medium, slightly textured, cream wove paper mounted on card, Sheet: 8 1/4 × 6 5/8 inches (21 × 16.8 cm), animal art, bird, Common Linnet

Head of an Eagle, Facing Left, unknown artist, formerly attributed to George Stubbs, 1724–1806, British, undated, Black chalk, red chalk, graphite, with pen, in gray ink and black ink on medium, slightly textured, cream, laid paper,

Two Dancing Figures and Five Studies for a Mother and Child Grouping, Henri Gaudier-Brzeska, 1891–1915, French, between 1910 and 1915, Brushed black ink, graphite, red colored pencil on medium, smooth, cream wove paper, Sheet: 5 3/4 x 17

Coastal Scene with Shipping, James Chisholm Gooden, active 1835–1865, undated, Watercolor and graphite on thick, slightly textured, cream wove paper, Sheet: 5 × 11 inches (12.7 × 27.9 cm), coast, landscape, marine art, sea, ships,

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

Prize Cattle in a Landscape, Thomas Weaver, 1774–1843, British, 1833, Oil on canvas, Support (PTG): 28 × 36 inches (71.1 × 91.4 cm), animal art, cattle

Wolf of Southern States, North America, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, gray ink, and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 7/8 × 7 5/8 inches (12.4 ×

Red Panda, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, black ink and graphite on moderately thick, smooth, white, wove paper, Sheet: 4 5/16 × 6 3/4 inches (11 × 17.1 cm), animal art

Sebastopol from the Sea, Sketched from the Deck of H. M. S. Sidon, Feb. 1855, William Simpson, 1823–1899, British, 1855, Watercolor and gouache over graphite on thick, moderately textured, cream wove paper, Sheet: 13 x 20 5/8 inches (33 x

Cottages behind Horsley's House, Francis Seymour Haden, 1818–1910, British, 1865, Etching and drypoint, with plate tone on medium, slightly textured, cream laid paper, Sheet: 9 1/8 x 14 7/16 inches (23.2 x 36.7 cm), Plate: 6 7/8 x 9 7/8

Amstelodamum, no. 1, Francis Seymour Haden, 1818–1910, British, 1863, Etching and drypoint, printed with black ink and brown ink on medium, slightly textured, cream laid paper, Sheet: 4 13/16 x 5 1/2 inches (12.3 x 14 cm), Plate: 4 x 4

Dutch Fishing Boats at Anchor in an Estuary, William Joy, 1803–1867, British, ca. 1850, Watercolor with scraping and gum on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/4 x 16 3/16in. (28.6 x 41.1cm) and Sheet: 11 3/8

A Tiger and a Sleeping Leopard, Print made by George Stubbs, 1724–1806, British, after George Stubbs, 1724–1806, British, 1788, Soft-ground etching with roulette on medium, slightly textured, cream wove paper, Sheet: 9 3/4 x 12 1/2

Grouse Shooting, Edwin Gill, active 1810, died 1868, undated, Graphite and watercolor on medium, smooth, cream, wove paper, Sheet: 10 5/8 × 13 7/16 inches (27 × 34.1 cm) and Image: 10 5/16 × 13 3/16 inches (26.2 × 33.5 cm), dogs

'Sporting Notions': 'I Have a Notion You Must Either Pull Him Over or Persuade Him to Pull You Back Again', Henry Thomas Alken, 1785–1851, British, between 1831 and 1832, Graphite and red chalk on thin, slightly textured, blued white, wove

Colonel Donald MacLeod of St. Kilda, John Opie, 1761–1807, British, ca. 1796, Oil on canvas, Support (PTG): 50 1/8 x 48 1/4 inches (127.3 x 122.6 cm), colonel, costume, man, military art, officer (military officer), portrait, smoke,

Lophaetus occipitalis (Long-Crested Eagle), James Bruce, 1730–1794, British, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 12 1/2 × 9 3/4 inches (31.8 × 24.8 cm), animal art

The Herdsman's Cottage, Print made by Samuel Palmer, 1805–1881, British, active in Italy (1837–39), 1850, Etching and drypoint retouched with graphite on thick, slightly textured, cream wove paper with cream chine collé, Sheet: 11 3/4 x

'Sporting Notions': 'My Notion is We Shall Get Him up Pretty Shortly What is Your Notion? I've Worked so Hard that I Hav'nt a Notion in Me', Henry Thomas Alken, 1785–1851, British, between 1831 and 1832, Graphite with red chalk on medium,

Sailboat, Thomas Daniell, 1749–1840, British, active in India, William Daniell, 1769–1837, British, undated, Graphite on medium, slightly textured, beige wove paper; mounted on, moderately thick, moderately textured, cream, wove

A View of Snowdon from the Sands of Traeth Mawr, taken at the Ford Between Pont Aberglaslyn and Tremadoc, Anthony Vandyke Copley Fielding, 1787–1855, British, 1834, Watercolor, gouache, blue chalk, graphite, and pen and brown ink on

Evening, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1755, Etching and line engraving with hand coloring on moderately thick, moderately

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