Images at Librifly

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Cows with Bull in the Foreground, Sawrey Gilpin, 1733–1807, British, undated, Pen and black ink and graphite on medium, slightly textured, cream laid paper, Sheet: 7 × 10 7/8 inches (17.8 × 27.6 cm), animal art, animals, bull, cows,

The Doreathea Nipped in the Ice off Spitzbergen, North View, 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 ×

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

'True Blue Beat by Whitefoot': Galloping to Left, with Jockey Up Whipping-On, James Seymour, 1702–1752, British, undated, Pen, in brown ink, and graphite on medium, slightly textured, cream, laid paper, mounted on, moderately thick,

Providence—The Protection of Drunken Men, Thomas Rowlandson, 1756–1827, British, ca. 1784, Pen, brown ink and gray wash on medium, slightly textured, cream laid paper, Frame: 8 1/8 × 10 5/8 × 1 1/8 inches (20.6 × 27 × 2.9 cm) and

A Calm, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1754, Etching and line engraving, hand colored with watercolor on moderately thick,

Foxhunting: Clearing a Brook, 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, blood, brook, costume, dog (animal), horses (animals), hunter, hunting,

Boats on the Nile, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on moderately thick, moderately textured, brown wove paper, Sheet: 2 1/16 x 10 3/8 inches (5.2 x 26.4 cm), boats, figures

Worcester, Print made by William John Cooke, 1797–1865, Irish, after John Preston Neale, 1771/80–1847, British, undated, Etching and line engraving on medium, slightly textured, cream wove paper, Sheet: 2 7/8 x 4 1/2 inches (7.3 x 11.4

An Iceberg and Polar Bear Shot at by Captain Ross, 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

Well in Lahore, 18 March 1860, William Simpson, 1823–1899, British, 1860, Graphite; verso: graphite and watercolor 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

Deir Kadige, noon., January 2, 1867 (27), Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 3 1/2 x 10 inches (8.9 x 25.4 cm), boats,

A Hawk, James Sowerby, 1756–1822, British, undated, Watercolor, gouache, and graphite on moderately think, moderately textured, cream wove paper, Sheet: 16 1/2 × 9 11/16 inches (41.9 × 24.6 cm), animal art, branch, Eurasian

An Historical Episode: ? A Military Officer Leading other Figures in Taking an Oath upon a Sword on a Table before Churchmen, Charles Reuben Ryley, 1752–1798, British, undated, Gray wash and graphite on medium, slightly textured, cream laid

The Portraiture of White-Nose, 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 34.6cm),

Jay, Green Woodpecker, Pigeons, and Redstart, Francis Barlow, ca. 1626–1704, British, ca. 1658, Oil on canvas, Support (PTG): 30 x 25 1/8 inches (76.2 x 63.8 cm), animal art, birds, Eurasian Jay, frogs (animals), landscape, lizard,

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), channel

Fishing Vessel 'Providence' of Scarborough, Cornelius Varley, 1781–1873, British, 1823, Graphite on medium, moderately textured, cream wove paper, Sheet: 10 x 16 3/8 inches (25.4 x 41.6 cm), figures, fishing, marine art, mast, ocean,

Mahratta Pugree, 5 February 1861, William Simpson, 1823–1899, British, 1861, Graphite and watercolor 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

Horses in a Paddock, John Linnell, 1792–1882, British, 1811, Watercolor on moderately thick, rough, cream laid paper, Sheet: 4 1/8 x 5 3/4 inches (10.5 x 14.6 cm), animal art, children, corral, field, grass, grazing, horses

Huntsman and Hounds, Robert Polhill Bevan, 1865–1925, British, ca. 1896, Pen and black ink, graphite, and rubbing on moderately thick, slightly textured, beige, wove paper, Sheet: 8 11/16 × 9 13/16 inches (22.1 × 24.9 cm) and Image: 5

'Qualified Horses and Unqualified Riders:' 'Faceing a Brook Verifying the Old Adage, Look Before You Leap', Henry Thomas Alken, 1785–1851, British, undated, Watercolor, with pen, in brown ink, black ink, and graphite on medium, slightly

Entrance to the Hudson Highlands, William Henry Bartlett, 1809–1854, British, undated, Pen and brown ink and brown wash with white gouache over graphite with scraping out on medium, slightly textured, cream wove paper, Sheet: 5 × 7 inches

View of Arundel, Charles Gore, 1729–1807, British, undated, Watercolor, pen and black ink, and graphite on moderately thick, moderately textuerd, cream laid paper, Sheet: 7 7/8 × 23 13/16 inches (20 × 60.5 cm), marine art, town,

Interior of the British Institution (Old Master Exhibition, Summer 1832), Alfred Joseph Woolmer, 1805–1892, British, 1833, Oil on canvas, Support (PTG): 28 1/4 x 36 1/4 inches (71.8 x 92.1 cm), arch, art, artist, benches, bonnet, bust,

Long-Tailed Spiny Rat, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink, brown ink and graphite on moderately thick, smooth, cream, wvoe paper, Sheet: 4 5/16 × 6 3/4 inches (11 × 17.1 cm), animal

Studies of Pallah Deer Resting, Samuel Daniell, 1775–1811, British, ca. 1801, Graphite on medium, slightly textured, cream wove paper, Sheet: 6 1/8 × 9 1/4 inches (15.6 × 23.5 cm), animal art, deer, resting

Fly Fishing, 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 x 10 9/16 inches (10.8 x 26.8 cm),

Lord Edward Thynne’s Snuff Box, Decorated with Foxhunting Scenes by John Ferneley, Attributed to John Ferneley, 1782–1860, British, 1832 or 1833, Oil on gold, Sheet: 1 1/2 x 3 3/8 inches (3.8 x 8.6 cm), fox (animal), horse (animal),

The Two Asses, Francis Seymour Haden, 1818–1910, British, 1863, Etching and drypoint on medium, slightly textured, cream laid paper, Sheet: 8 11/16 x 5 3/8 inches (22.1 x 13.7 cm), Plate: 5 15/16 x 3 3/8 inches (15.1 x 8.5 cm), and Image:

Sailboats on the Nile, John William Burgon, 1813 –1888, British, between 1861 and 1862, Watercolor on medium, slightly textured, wove paper mounted on board, Sheet: 5 1/2 x 13 1/8 inches (14 x 33.3 cm) and Mount: 6 x 13 5/8 inches (15.2 x

The Canada Lynx from the Life, Samuel Howitt, 1756–1822, British, ca. 1817, Pen and black ink, pen and brown ink, watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 8 7/8 × 6 3/4 inches (22.5 × 17.1 cm),

Steeplechasing: Five Riders Galloping Right, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, cream, wove paper, Sheet: 9 7/8 × 16 1/8 inches (25.1 × 41 cm), fields, galloping,

Bangor, Belfast Lough, James Arthur O'Connor, 1792–1841, Irish, undated, Watercolor, graphite, gouache, pen and brown ink, black ink and scratching out on moderately thick, moderately textured, blued white, wove paper, Sheet: 7 1/8 ×

View of a Military Encampment with Chunargarh in the Distance, William Hodges, 1744–1797, British, ca. 1784, Gray wash, pen and black ink and graphite on laid paper, laid down on 19th Century wash mount, Sheet: 19 9/16 x 26 1/2in. (49.7 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

Hare Hunting, Jan Wyck, ca. 1645–1700, Dutch, active in Britain (from ca. 1664), ca. 1690, Oil on canvas, Support (PTG): 56 x 48 inches (142.2 x 121.9 cm), chasing, coats, cravat, dogs (animals), equestrians, genre subject, hare,

Yellow Mongoose, Charles Hamilton Smith, 1776–1859, Belgian, unknown artist, ca. 1837, Watercolor and graphite on medium, smooth, white, wove paper, Sheet: 4 5/16 × 6 3/4 inches (11 × 17.1 cm), animal art

The Black Ball Line Packet Ship 'New York' off Ailsa Craig, William Clark, 1803–1883, British, 1836, Oil on canvas, Support (PTG): 24 x 36 inches (61 x 91.4 cm), American, birds, flags, marine art, Masts and rigging, men, ocean,

Man on a White Horse, unknown artist, nineteenth century, Formerly attributed to Peter DeWint, 1784–1849, British, Formerly Joseph Mallord William Turner, (as purchased), 1775–1851, British, early 19th century, Oil on paper, Support

Lagonosticta senegala (Red-billed Firefinch), 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

Wrecked Ship in a Stormy Sea, François Louis Thomas Francia, 1772–1839, French, active in Britain, undated, Brown ink and brown wash on moderately thick, slightly textured, brown wove paper, Sheet: 4 x 7 1/8 inches (10.2 x 18.1 cm),

Two Riders Taking a Double Fence, Henry Thomas Alken, 1785–1851, British, undated, Watercolor and graphite on medium, slightly textured, cream, wove paper, Sheet: 8 1/4 × 10 11/16 inches (21 × 27.1 cm), fences, field, galloping,

Four Hooded Falcons, Attributed to John Frederick Tayler, 1802–1889, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream, wove paper, mounted on, moderately thick, smooth, bright white, wove paper,

Hereford Boar, James Ward, 1769–1859, British, ca. 1803, Graphite on medium, smooth, cream, wove paper, mounted on moderately thick, moderately textured, blue, wove paper, Sheet: 4 15/16 × 7 3/16 inches (12.5 × 18.3 cm),

Entrance to Calais Harbour, David Cox, 1783–1859, British, ca. 1829, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 7 3/8 × 11 inches (18.7 × 27.9 cm), boat, figures (representations), marine art,

Ships in the Thames Estuary near Sheerness, Isaac Sailmaker, ca. 1633–1721, Dutch, active in Britain (from the 1640s), between 1707 and 1708, Oil on canvas, Support (PTG): 42 x 53 inches (106.7 x 134.6 cm), battle, boats, estuary, flags,

Stag, Doe and Fawns, Samuel Howitt, 1756–1822, British, undated, Watercolor and pen and black ink over graphite on moderately thick, moderately textured, cream wove paper, Sheet: 4 3/4 × 6 3/8 inches (12.1 × 16.2 cm), animal art, doe,

Off Whitby, Edward Duncan, 1803–1882, British, 1870, Watercolor, with pen, in brown ink, graphite, gouache and scratching out on moderately thick, slightly textured, cream, wove paper, mounted on, very thick, slightly textured,

Cabrita Point - Rock of Gibraltar, George Lothian Hall, 1825–1888, British, 1843, Watercolor over graphite with scraping out on thick, moderately textured, cream wove paper, Sheet: 6 1/4 × 10 inches (15.9 × 25.4 cm), landscape, marine

Epsom Races: The Race Over, James Pollard, 1792–1867, British, 1834 to 1835, Oil on canvas, Support (PTG): 12 1/8 x 18 5/8 inches (30.8 x 47.3 cm), bleachers, costume, equestrian, event, grandstand, horse (animal), jockey, jockeys,

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

Studies of Camels, Lahore, 17 February 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

Oriolus monacha (Black Headed Abyssinian Oriole), 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

Hound Sitting Holding up Bleeding Foreleg, unknown artist, nineteenth century, early 19th century, Pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 5 5/8 × 9 1/4 inches (14.3 × 23.5 cm), animal art

The Fleet: Evening, Print made by James McNeill Whistler, 1834–1903, American, active in Britain (from 1859), 1887, Etching on medium, slightly textured, cream antique laid paper, Sheet: 5 9/16 x 8 11/16 inches (14.1 x 22 cm), Plate: 5

Princess Charlotte's Monument, Coburg Bay, Cape Leopold, 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

Lady Londonderry's Dog, James Ward, 1769–1859, British, undated, Graphite on medium, slightly textured, blued white, wove paper, Sheet: 5 3/8 x 8 5/8 inches (13.7 x 21.9 cm), animal art, dog (animal

Study of Horse with Figure Holding Reins, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, slighlty textured, cream laid paper, Sheet: 7 7/8 × 9 inches (20 × 22.9 cm), animal art, equestrian, figure (representation),

On the Thames, Francis Seymour Haden, 1818–1910, British, 1859, Etching and drypoint, with plate tone on moderately thick, smooth, cream wove paper with beige chine collé, Sheet: 12 1/16 x 17 5/16 inches (30.7 x 44 cm), Plate: 5 11/16 x

Asinus Onager Horse, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink and graphite on medium, smooth, cream, wove paper, Sheet: 3 7/8 × 6 1/2 inches (9.8 × 16.5 cm), animal art

A Rifleman at Musketry Practice, John Augustus Atkinson, 1775–1831, British, undated, Pen and black ink, Pen and brown ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 4 1/2 × 3 1/8 inches (11.4 × 7.9 cm),

Horse Skeleton, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, moderately textured, beige, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper, Sheet: 6 9/16 × 8 1/8 inches (16.7 × 20.6

Shipping in a Calm, John Cleveley the younger, 1747–1786, British, undated, Pen and brown ink with gray wash on medium, moderately textured, cream laid paper mounted to medium, moderately textured, beige wove paper, Sheet: 3 7/8 × 4 7/8

Studies of a Fox, a Barn Owl, a Peahen, and the Head of a Young Man, Jacques-Laurent Agasse, 1767–1849, Swiss, active in Britain (from 1800), ca. 1815, Oil on canvas, Support (PTG): 19 1/2 x 18 5/8 inches (49.5 x 47.3 cm), animal art,

Coast Scene with Figures, John Thomas Serres, 1759–1825, British, 1808, Watercolor, black ink, and graphite on medium, slightly textured, cream wove paper mounted on moderately thick, slightly textured, cream wove paper, Sheet: 6 1/8 ×

Punt Fishing in the Thames, Robert Pollard, 1755–1838, British, and James Pollard, 1792–1867, British, undated, Graphite, with pen and brown ink on blued white, medium, slightly textured, wove paper, Sheet: 4 3/16 x 13 1/16 inches

Night and a Ship on Fire, 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

Studies of Horses, James Ward, 1769–1859, British, undated, Watercolor and brown ink over graphite on medium, slightly textured, cream wove paper, Sheet: 4 1/8 x 4 7/8 inches (10.5 x 12.4 cm), animal art, horses (animals), studies

Native Plough, Amritsar, 24 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),

For Japaning, Where may be 200 Different Sorts, Peter P. Benazech, 1767–1794, after C. Fenn, after unknown artist, ( C. Fenn ), Published by John Ryall, active 1755–1762, British, Published by Robert Withy, active 1750–1765,

A Pheasant Wing, James Sowerby, 1756–1822, British, undated, Graphite with pen and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 17 × 11 inches (43.2 × 27.9 cm), animal art, pheasant

The Famous Childers, James Seymour, 1702–1752, British, undated, Gouache, with pen, in black ink, brown ink, and graphite on medium, moderately textured, beige, laid paper, Sheet: 5 5/8 × 7 1/8 inches (14.3 × 18.1 cm) and Image: 5

Long Ships Lighthouse off the Land’s End, Cornwall, William May, active 19th century, British, 1860s, Albumen print from wet collodion negative on thin, smooth, cream wove paper, Sheet: 11 1/4 × 15 inches (28.6 × 38.1 cm) and Mount: 18

Foxhunting: Breaking Cover, 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, blood, brook, costume, dogs (animals), horses (animals), hunter, rural,

Neophron percnopterus (Egyptian Vulture), James Bruce, 1730–1794, British, undated, Watercolor over graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 14 × 18 inches (35.6 × 45.7 cm), animal art

A Perfect 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: 8 7/16 × 13 1/2 inches (21.4 × 34.3 cm)

Dancing Figure, Henri Gaudier-Brzeska, 1891–1915, French, between 1910 and 1915, Brushed black ink on thin, smooth, cream wove paper, Sheet: 7 x 4 1/2 inches (17.8 x 11.5 cm), abstract art, dance, figure, figure study, study (visual

The Saddling Enclosure, Epsom, James Barenger, 1780–after 1831, British, undated, Pen, in brown ink, gray wash and brown wash on moderately thick, moderately textured, beige, laid paper, Sheet: 10 1/8 × 12 11/16 inches (25.7 × 32.2

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

The Spangled Cock, Joseph Crawhall, 1861–1913, British, 1903, Watercolor heightened with gouache on linen mounted on panel, Sheet: 17 11/16 x 23in. (44.9 x 58.4cm) and Frame: 25 3/8 × 30 9/16 × 1 5/8 inches (64.5 × 77.7 × 4.1 cm), animal

Mother Camel and her Calf, Attributed to Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Pen and black ink, gray wash and graphite on medium, slighlty textured, cream laid paper mounted to medium, slightly textured, cream

Myles Sandys' Hounds and Huntsmen Starting a Hare, Thomas Sunderland, 1744–1828, British, undated, Pen in brown ink, and blue in, with blue and gray wash over graphite on medium, slightly textured, beige, wove paper, Sheet: 12 1/16 × 17

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

Sportsman and Two Dogs, Sir Edwin Henry Landseer, 1802–1873, British, undated, Pen in brown ink on medium, moderately textured, blued white, laid paper, Sheet: 4 3/8 × 5 3/4 inches (11.1 × 14.6 cm), hat, hounds (dogs), hunter,

Port Mahon, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), between 1756 and 1773, Pen and black ink, pen and brown ink, brown wash, gray wash, watercolor and graphite on medium, slightly textured, blued

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 Dutch Barge and Merchantmen Running out of Rotterdam, Clarkson Stanfield, 1793–1867, British, 1856, Oil on canvas, Support (PTG): 31 x 48 inches (78.7 x 121.9 cm), barge, birds, boats, brig, cargo boats, clouds, Dutch, lighthouse,

Lady Fragrant, at 7 Years Old, Print made by A. M. Gauci, fl.1848–1869, after A. M. Gauci, fl.1848–1869, 1870, Lithograph with hand coloring on thick, moderately textured, cream wove paper, Sheet: 17 3/4 x 22 1/2 inches (45.1 x 57.2 cm)

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

Study for Nelson Sealing the Copenhagen Letter, Sir David Wilkie, 1785–1841, British, ca. 1835, Pen and brown ink on medium, smooth, cream wove paper, Sheet: 2 3/4 × 5 1/4 inches (7 × 13.3 cm) and Frame: 8 1/2 × 10 1/4 × 1 1/2 inches

Warbler: Reed Wren, William Lewin, 1747–1795, British, before 1790, Watercolor, gouache, graphite and pen and black ink on medium, smooth, white vellum, Sheet: 8 1/8 × 6 5/8 inches (20.6 × 16.8 cm), animal art, bird, branch, perch,

A Mammal with Sketches of it's Feet and Mouth, James Sowerby, 1756–1822, British, undated, Watercolor, white gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 12 x 8 1/2in. (30.5 x 21.6cm), animal art, feet,

Weymouth, Joseph Mallord William Turner, 1775–1851, British, ca. 1811, Watercolor, pen and brown ink and scraping out on medium, slightly textured, cream wove paper, Sheet: 5 3/4 x 8 5/8in. (14.6 x 21.9cm) and Frame: 15 1/4 x 20 1/4 x 1

The North Foreland Lighthouse, Kent, James Malton, 1761–1803, British, 1791, Watercolor and graphite with pen and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 7 3/16 × 9 7/16 inches (18.3 × 24 cm),

Pigs at a Trough, Thomas Rowlandson, 1756–1827, British, ca. 1790, Pen, in brown ink, with brown wash, over graphite on medium, slightly textured, blued white, laid paper, mounted on moderately thick, slightly textured, cream, laid

The Taking of the Nuestra Senora de los Remedios, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1753, Etching and line engraving on

The Wave, Robert Hills, 1769–1844, British, undated, Watercolor on medium, slightly textured, beige wove paper, Sheet: 3 1/2 x 4 7/8 inches (8.9 x 12.4 cm), beach, clouds, marine art, ocean, shore (landform), waves (natural events

A Pair of Stints, Charles Collins, 1660–1744, British, undated, Pen and ink, watercolor, gouache on slightly textured, moderately thick, cream laid paper, Sheet: 13 1/2 × 19 3/8 inches (34.3 × 49.2 cm), animal art

Going Out in the Morning: an illustration for Captain Thomas Williamson's 'Oriental Field Sports', Samuel Howitt, 1756–1822, British, 1807, Watercolor, with pen, in gray ink, black ink and graphite on medium, moderately textured, cream,

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