Images at Librifly

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Study of Waves, attributed to Samuel Palmer, 1805–1881, British, active in Italy (1837–39), undated, Gray and brown washes with white gouache over graphite on thick, slightly textured, gray wove paper, Sheet: 5 13/16 × 8 7/8 inches

The Sheep of His Pasture, Print made by Edward Calvert, 1799–1883, British, ca. 1828, Engraving on thick, slightly textured, cream wove paper with cream chine collé, Sheet: 2 3/8 x 4 1/16 inches (6.1 x 10.3 cm), Plate: 1 5/8 x 3 1/4

The Shepherd, Engraved by Welby Sherman, active 1827, between 1827 and 1836, Engraving on thick, slightly textured beige wove paper with beige chine collé, Sheet: 12 7/8 x 11 9/16 inches (32.7 x 29.3 cm), Plate: 4 15/16 x 3 3/16 inches (12.6

The Taglioni Coach and Other Scenes, unknown artist, ('H'), ca. 1840, Oil on fruitwood, Overall: 5 3/8 x 12 3/8 x 7 1/2 inches (13.7 x 31.4 x 19.1 cm), carriages, coaches (carriages), costume, dancer, dogs (animals), genre subject, horses

Hussar with High Plume in His Helmet, Mounted on a Horse, With High Held Swishing Tail, Henry Thomas Alken, 1785–1851, British, undated, Graphite and red chalk on thin, smooth, blued white, wove paper, Sheet: 7 5/16 × 5 1/8 inches (18.6

Hull of a Boat on Shore, Thomas Daniell, 1749–1840, British, active in India, ca. 1789, Gray wash over graphite on medium, slightly textured, cream laid paper, Sheet: 3 1/2 x 6 5/8 inches (8.9 x 16.8 cm), boat, hull, marine art

The Bolt Head, West North West (one of five drawings on one mount), John Thomas Serres, 1759-1825, British, undated, Watercolor, graphite and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 3 1/8 x 10 1/2 inches

Grouse Shooting, Print made by Matthew Dubourg, active 1786–1838, British, after James Pollard, 1792–1867, British, Published by Jonathan Watson, 1820–1847, British, 1822, Aquatint and etching with hand coloring on moderately thick,

Symptoms: of Sporting Friends Likely-to Go Together, of a Double Entendre, of Sporting Friends Likely-to Seperate, of Sure to HIt the Mark., Henry Thomas Alken, 1785–1851, British, between 1822 and 1827, Graphite, and red chalk on thin,

Yarmouth, Norfolk, Edward Francis Finden, 1791–1857, British, after Edward William Cooke, 1811–1880, British, Published by Charles Tilt, active c.1815–1853, British, 1837, Etching and line engraving on moderately thick, slightly

Five Figure Studies, 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, figure, figure study, Vorticism

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

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

Chess Players, Thomas Rowlandson, 1756–1827, British, undated, Brown wash and graphite with pen and black ink and pen and gray ink on medium, slightly textured, cream wove paper, Sheet: 4 3/8 x 7 inches (11.1 x 17.8 cm), chairs, chess,

Lambing Time, 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 paper, Sheet: 5

Two Cows, John Linnell, 1792–1882, British, undated, Gray wash on medium, smooth, blued white, wove paper, Sheet: 2 5/8 × 2 1/8 inches (6.7 × 5.4 cm), animal art, cows, gaze, grazing, walking

Frieze of Four Dancing Figures, Henri Gaudier-Brzeska, 1891–1915, French, between 1910 and 1915, Brushed black ink on medium, smooth, cream wove paper, Sheet: 5 3/4 x 17 3/4 inches (14.6 x 45.1 cm), abstract art, dance, figure, figure

The Common Jackal, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 4 3/4 × 7 7/16 inches (12.1 × 18.9 cm), animal art

Minotaur, James McNeill Whistler, 1834–1903, American, active in Britain (from 1859), undated, Graphite on medium, smooth, beige laid paper, Sheet: 8 7/8 × 6 5/8 inches (22.5 × 16.8 cm), animal art, mythology, religious and

William Beckford's Ponies, William Hamilton, 1751–1801, British, undated, Watercolor over graphite on medium, slightly textured, cream, wove paper, Sheet: 11 1/2 × 13 3/4 inches (29.2 × 34.9 cm), animal art

Teignmouth, Devonshire, Joseph Mallord William Turner, 1775–1851, British, ca. 1813, Watercolor and scratching out on medium, slightly textured, cream wove paper, Sheet: 6 x 8 3/4 inches (15.2 x 22.2 cm), boatbuilding, boats, harbor,

Wychwood Forest, Hugh William 'Grecian' Williams, 1773–1829, British, 1806, Black and gray wash and gouache over pen and brown ink on moderately thick, moderately textured, beige laid paper mounted on thick, moderately textured, beige wove

Study of a Lioness, John Frederick Lewis, 1804–1876, British, ca. 1824, Watercolor and gouache over graphite on buff wove paper, Sheet: 14 5/16 x 16 9/16 inches (36.4 x 42.1 cm), animal, animal art, lioness, mouth, study (visual work),

Studies of Deer - Three on on Sheet, Samuel Daniell, 1775–1811, British, ca. 1801, Graphite on medium, slighlty textured, cream wove paper, Sheet: 5 7/8 × 9 inches (14.9 × 22.9 cm), animal art, deer

Racehorse at Exercise, Ridden by a Training-Groom, James Seymour, 1702–1752, British, undated, Gouache, with pen, in black ink, brown ink, and graphite on medium, slightly textured, laid paper, mounted on moderately thick, slightly

Brown's Parakeet, after Edward Lear, 1812–1888, British, unknown artist, 19th c., 1832, Watercolor, pen and black ink and graphite on beige board, Sheet: 15 × 12 inches (38.1 × 30.5 cm), animal art

Long-beaked Echidna, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor and graphite on medium, smooth, cream, wove paper, Sheet: 4 1/2 × 6 7/8 inches (11.4 × 17.5 cm), animal art

Fowl Island, Bay of Bengal, Coast of Arakan, Thomas Daniell, 1749–1840, British, active in India, William Daniell, 1769–1837, British, 1786 (?), Graphite on medium, moderately textured, cream laid paper; mounted on moderately thick,

Domestic cock, hens, and chicks in a park, Peter Casteels, 1684–1749, Flemish, active in Britain (from 1708), 1730, Oil on canvas, Support (PTG): 49 3/4 x 39 3/4 inches (126.4 x 101 cm), birds, bowl, chicks, country house, country

'Crucifix' with John Day Up, Harry Hall, 1838–1886, British, 1840 to 1841, Oil on canvas, Support (PTG): 34 x 44 inches (86.4 x 111.8 cm), animal art, breeches (trousers), coat, equestrians, fields (agricultural land), horses (animals),

'Some Do and Some Don't: It is All a Notion:' Getting Over a Difficulty, Henry Thomas Alken, 1785–1851, British, between 1848 and 1851, Graphite and watercolor on medium, moderately textured, blued white, wove paper, Sheet: 7 9/16 × 10

Barge, attributed to Paul Sandby RA, 1731–1809, British, undated, Gray wash and graphite on medium, cream, slightly textured laid paper, Sheet: 4 3/8 x 7 3/4 inches (11.1 x 19.7 cm), barge, marine art

A View of the Coast of China, William Alexander, 1767–1816, British, undated, Watercolor and pen and black ink over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 3/8 × 8 1/8 inches (13.6 × 20.6 cm), boats,

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

Study for 'The Pinche or Red Tailed Monkey' (formerly the Cottenhead Marmoset), Thomas Bewick, 1753–1828, British, ca. 1785-1789, Pen and black ink and watercolor on medium, slighlty textured, cream laid paper, Sheet: 7 1/8 × 9 1/2 inches

A Pipul Tree, George Chinnery, 1774–1852, British, undated, Gray wash on medium, slightly textured, white laid paper, Sheet: 6 1/4 × 9 inches (15.9 × 22.9 cm), boat, landscape, marine art, river, shore (landform), trees

The Death: Huntsman Holding Fox Aloft, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, cream, wove paper, Sheet: 10 1/4 × 14 5/16 inches (26 × 36.4 cm), birds, bushes, death,

The Eye of a Seal and verso: Sketches of an Apparatus, James Sowerby, 1756–1822, British, 1804, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 4 × 3 inches (10.2 × 7.6 cm), animal art, eye

A Turkey Sitting on Eggs, James Ward, 1769–1859, British, undated, Graphite on medium, smooth, cream wove paper, Sheet: 4 1/8 x 4 7/8 inches (10.5 x 12.4 cm) and Mount: 7 5/8 × 8 5/8 inches (19.4 × 21.9 cm), animal art, eggs, turkey

A Groom Mounted on a Chestnut Hunter, He Holds a Bay Hunter by the Reins, Jacques-Laurent Agasse, 1767–1849, Swiss, active in Britain (from 1800), early 19th century, Oil on canvas, Support (PTG): 23 3/4 x 29 3/4 inches (60.3 x 75.6 cm),

Coursing: a Group of Riders Galloping From Left After a Couple of Greyhounds, James Pollard, 1792–1867, British, undated, Graphite on medium, slightly textured, cream, wove paper, Sheet: 5 7/8 × 14 1/16 inches (14.9 × 35.7 cm), dogs

A Bird, James Sowerby, 1756–1822, British, undated, Graphite on medium, slightly textured, cream wove paper, Sheet: 8 7/8 × 7 1/4 inches (22.5 × 18.4 cm), animal art, bird, branch, Spot-backed Antshrike

A Tug Vessel, 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 1/4 inches (8.6 × 10.8 cm) and Image: 2 1/8 × 3

A Hound Tethered to a Tree Stump, James Seymour, 1702–1752, British, undated, Pen, in brown ink, and brown wash on medium, moderately textured, blued white, laid paper, Sheet: 3 1/4 × 6 1/16 inches (8.3 × 15.4 cm), animal art

Running before the Wind, François Louis Thomas Francia, 1772–1839, French, active in Britain, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 5 3/4 x 3 3/4 inches (14.6 x 9.5 cm), marine art,

A Man and a Boy Riding on a Beach, Philip William May, 1864–1903, British, undated, Pen and black and brown ink on medium, smooth, cream wove paper, Sheet: 5 3/4 × 7 1/2 inches (14.6 × 19.1 cm) and Frame: 10 1/16 × 11 3/4 × 13/16 inches

Hare Hunting: The Kill, Jan Wyck, ca. 1645–1700, Dutch, active in Britain (from ca. 1664), undated, Pen, in brown ink, and red chalk on medium, smooth, beige, laid paper, Sheet: 3 7/8 × 11 9/16 inches (9.8 × 29.4 cm), dogs (animals),

A Bird, William Swainson, 1789–1855, British, undated, Graphite on medium, smooth, cream wove paper, Sheet: 9 1/8 x 7 3/8in. (23.2 x 18.7cm), animal art, bird, branch

A Cat and Chickens, Newton Limbird Smith Fielding, 1799–1856, British, 1833, Watercolor, pen and brown ink over graphite with scratching out on medium, slightly textured, cream wove paper, Sheet: 7 × 10 1/8 inches (17.8 × 25.7 cm),

Study of a Deer: Stag in Foreground with a Group of Does and Fawns Under a Tree, Robert Hills, 1769–1844, British, undated, Graphite, gray wash, and gouache on medium, slightly textured, cream wove paper, Sheet: 9 3/8 x 10 1/2 inches

The Horse Mart (with further sketches in the margin), Robert Polhill Bevan, 1865–1925, British, ca. 1918, Chalk on medium, slightly textured, cream, laid paper, Sheet: 13 5/8 × 15 inches (34.6 × 38.1 cm) and Image: 8 1/8 × 10 inches

Cave of the Golden Calf: Study for Mural of Calf and Worshipping Figures, Spencer Frederick Gore, 1878-1914, British, 1912, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/2 x 18 inches (8.9 x 45.7 cm),

Bull, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, slightly textured, cream, wove paper, mounted on, moderately thick, slightly textured, cream, wove paper, Sheet: 5 1/2 × 8 inches (14 × 20.3 cm) and Mount: 9 1/2

View on the Thames at Battersea, Edward William Cooke, 1811–1880, British, undated, Graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 × 6 1/4 inches (12.7 × 15.9 cm), dock, marine art, mooring, ships,

Study of a Standing Deer, Samuel Daniell, 1775–1811, British, ca. 1802, Graphite on medium, moderately textured, cream wove paper, Sheet: 6 1/8 × 8 7/8 inches (15.6 × 22.5 cm), animal art, deer, standing

Bristol: Sketch of Boats and Buildings, Thomas Girtin, 1775–1802, British, ca. 1797, Graphite on medium, slightly textured, beige wove paper, Sheet: 3 × 6 5/8 inches (7.6 × 16.8 cm), boats, boatyards, buildings, dock, estuary,

Bakri Wallah, Lahore 13 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 (mammal),

The Palace Doorway North Italian Set: No. 22, Sir David Young Cameron, 1865–1945, British, 1895, Etching, arches, architectural subject, boats, building, canal, costume, doorway, gondolas, headgear, marine art, moorings, oar,

Setters, George Morland, 1763–1804, British, between 1798 and 1799, Oil on canvas, Support (PTG): 13 1/4 x 9 inches (33.7 x 22.9 cm), animal art, animals, clouds, dogs (animals), stairs, trees

A Seventy-four in a Fresh Gale, J. Hill, active 19th century, after George Webster, 1797–1864, British, Published by Gaetano Testolini, active 1760–1811, 1811, Aquatint on moderately thick, moderately textured, cream wove paper,

Pheasant Shooting, Edward Duncan, 1803–1882, British, 1830, Oil on canvas, Support (PTG): 12 x 16 inches (30.5 x 40.6 cm), chasing, dog (animal), landscape, livestock, pheasant, sheep, sporting art

French Coast Scene with Fisherboy, James Duffield Harding, 1798–1863, British, 1829, Watercolor, pen and brown ink, pen and red ink, pen and gray ink, graphite, and gouache on moderately thick, slightly textured, cream wove paper,

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

Foxhunting: Full Cry, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, pen and black ink, graphite and gouache on medium, slightly textured, cream, wove paper, Sheet: 9 5/16 × 12 3/8 inches (23.7 × 31.4 cm), dogs

A Magpie, John Bewick, 1760–1795, British, undated, Watercolor, graphite and pen and black ink on medium, slightly textured, cream laid paper mounted to moderately thick, slightly textured, cream wove paper, Sheet: 8 × 12 1/4 inches

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

Epsom Races: The Betting Post, 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), carriage, costume, equestrian, horse (animal), landscape, race (event), racecourse,

Riders Taking a Fence, Samuel Henry Gordon Alken, 1810–1894, British, undated, Watercolor, with pen, in brown ink and black ink and graphite on medium, slightly textured, blued white, wove paper, Sheet: 8 1/4 × 11 3/4 inches (21 × 29.8

Tarifa Point, Spain and Mons Abyla, Africa, George Lothian Hall, 1825–1888, British, 1843, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 6 1/4 × 10 inches (15.9 × 25.4 cm), marine art, mountains,

Salmon Spearing, Julius Caesar Ibbetson, 1759–1817, British, undated, Watercolor, pen and black ink, gray ink, graphite, and gouache on medium, smooth, blued white, wove paper, Sheet: 8 9/16 × 11 1/4 inches (21.7 × 28.6 cm), boat,

A Farm Horse, Harnessed to a Cart, Executed at or Near Canterbury, c. 1835, Thomas Sidney Cooper, 1803–1902, British, ca. 1835, Graphite on medium, slightly textured, beige, wove paper, Sheet: 7 3/16 × 8 3/4 inches (18.3 × 22.2 cm),

An Illustration of C.J. Apperley ('Nimrod'), 'The Life of a Sportsman': 'A Night Scene with Sir Thomas Mostyn', Henry Thomas Alken, 1785–1851, British, 1842, Watercolor over etched outline, with gouache on medium. slightly textured, blued

Partridge Shooting, Henry Thomas Alken, 1785–1851, British, ca. 1825, Oil on panel, Support (PTG): 9 x 11 inches (22.9 x 27.9 cm), dogs (animals), gesture, hounds (dogs), hunt, hunter, hunting gun, man, partridge, plants, rifle

Red-capped Parakeet (female), unknown artist, nineteenth century, after Edward Lear, 1812–1888, British, 1832, Watercolor and pen and black ink on wove paper, Sheet: 18 x 14in. (45.7 x 35.6cm), animal art, bird, branch, female, leaves

Two Mares with their Foals, Sawrey Gilpin, 1733–1807, British, undated, Pen and black ink over graphite with brown wash, Sheet: 3 9/16 × 9 1/8 inches (9 × 23.2 cm), animal art, foal, horses (animals), mares

The Farmyard (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 medium, slightly textured, cream wove paper, Sheet:

Quagga Zebra, James Sowerby, 1756–1822, British, James de Carle Sowerby, 1787–1871, British, or Charles E. Sowerby, 1795–1842, British, ca. 1824, Watercolor and graphite with pen and black ink on medium, smooth, cream wove paper,

A French Dragoon, Sir Robert Kerr Porter, 1777–1842, British, ca. 1810, Watercolor and pen and black ink over graphite on medium, slightly textured, cream wove paper, Sheet: 17 3/8 × 14 1/2 inches (44.1 × 36.8 cm), horses (animals),

Le Piaffe (I): Training at the Pillar, Horse Wearing Bridle and Surcingle..., James Seymour, 1702–1752, British, undated, Graphite on medium, slightly textured, blued white, laid paper, Sheet: 10 3/8 × 8 1/8 inches (26.4 × 20.6 cm),

Breakfast before the Hunt, Thomas Rowlandson, 1756–1827, British, between 1785 and 1790, Pen and black and gray ink with brown and blue wash on medium, moderately textured, beige, laid paper, mounted on, moderately thick, moderately

Mameluke purchasing an Arabian stallion, George Henry Laporte, 1799–1873, British, ca. 1835, Oil on canvas, Support (PTG): 17 1/8 x 21 1/8 inches (43.5 x 53.7 cm), animal art, animals, Arabian, buildings, bust, city, desert, genre

Riders and a Two-Wheeled Cart With Driver, Sawrey Gilpin, 1733–1807, British, undated, Graphite on medium, moderately textured, blued white, laid paper, mounted on, moderately thick, slightly textured, cream, wove paper, Sheet: 4

Evening Sky on the Coast, James Holland, 1799–1870, British, between 1859 and 1861, Watercolor, graphite and white gouache on medium, slightly textured, cream laid paper, Sheet: 4 1/4 × 6 3/4 inches (10.8 × 17.1 cm), abstract art,

Head of a Foxhound, in Profile Right, Henry Thomas Alken, 1785–1851, British, undated, Graphite on medium, slightly textured, cream, wove paper, Sheet: 4 3/4 × 5 3/4 inches (12.1 × 14.6 cm), animal art

Lustre, held by a Groom, George Stubbs, 1724–1806, British, ca. 1762, Oil on canvas, Support (PTG): 40 1/8 x 50 inches (101.9 x 127 cm), animal, coat, equestrian, groom, horse (animal), landscape, livery (uniforms), rural, sporting

The Wild Bull, of the Ancient Caledonian Breed, Now in the Park, at Chillingham-Castle, Northumberland., Print made by Thomas Bewick, 1753–1828, British, 1789, Wood-engraving on medium, moderately textured, cream wove paper, Sheet: 7

Study of a bear, Sawrey Gilpin, 1733–1807, British, undated, Pen and brown ink over graphite on thick, rough, brown wove paper, Sheet: 9 7/8 × 13 5/8 inches (25.1 × 34.6 cm), animal art, bear, cartoon (humorous image), cow, sadness

A Morning at Tattersalls (with further sketches in left margin folded over), Robert Polhill Bevan, 1865–1925, British, undated, Black chalk and colored washes on moderately thick, slightly texturted, cream, laid paper, Sheet: 13 3/8 × 17

Tortoise, Print made by James Heath, 1757–1834, British, after James Bruce, 1730–1794, British, 1789, Engraving, hand colored, animal art, tortoise

'Eclipse' / 'He was bred in 1764, by H.R.H. Wm. Cuke of Cumberland, got by Marsk, son of squirt, a son of Gartletts Childers, own brother to Flying Childers..., Charles Hunt, 1803–1877, British, after George Stubbs, 1724–1806, British,

Gray Fox, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink, blue ink, red ink and graphite on moderately thick, slightly textured, white, wove paper, Sheet: 4 13/16 × 7 7/16 inches (12.2 × 18.9 cm),

'Sporting Notions': 'I Have a Notion This Bridge Will A-Bridge My Sport', Henry Thomas Alken, 1785–1851, British, between 1831 and 1832, Graphite and red chalk on thin, slightly textured, blued white, wove paper, Sheet: 6 7/16 × 8 1/2

Views in the Levant: Harbour Town Surrounded by Windmills, Willey Reveley, (?), 1760–1799, British, ca. 1785, Watercolor, pen and black ink, gray ink, and graphite on medium, slightly textured, cream, laid paper, mounded on thick,

Lambing Time (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

Myalotis Caama, The Caama of South Africa, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor and graphite on moderately thick, smooth, white, wove paper, Sheet: 4 1/4 × 6 5/8 inches (10.8 × 16.8 cm), animal art

Study of a Calf, Sawrey Gilpin, 1733–1807, British, undated, Gray wash with pen and black ink over graphite on medium, slightly textured, cream laid paper, Sheet: 4 5/8 × 6 1/8 inches (11.7 × 15.6 cm), animal art, calf, cow, grazing,

Water Spaniel, George Stubbs, 1724–1806, British, 1769, Oil on canvas, Support (PTG): 35 1/2 x 46 inches (90.2 x 116.8 cm), animal, brown, dog (animal), life-size, small, Spaniel, sporting art, white

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

Study of a Lion, Resting, unknown artist, formerly attributed to George Stubbs, 1724–1806, British, undated, Red chalk and graphite on medium, slightly textured, cream, laid paper, Sheet: 8 1/16 × 12 9/16 inches (20.5 × 31.9 cm),

Tiger Hunting in the East Indies, Richard Earlom, 1743–1822, British, after Johan Joseph Zoffany RA, 1733–1810, German, active in Britain (from 1760), 1802, Stipple engraving, mezzotint, and etching with hand coloring on thick,

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