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Dredger at Twickenham, September 22, 1874, Thomas Charles Leeson Rowbotham, 1823–1875, British, 1874, Watercolor, gouache on thick, rough, beige, wove paper, Sheet: 18 1/2 × 12 inches (47 cm

View of Calcutta and its Environs: Chowringhee Road from number X1 Esplanade, Calcutta, Sir Charles D'Oyly, 1781–1845, British, active in India, undated, Watercolor, graphite, white gouache, brown wash, and gray wash on moderately thick,

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Torrs, unknown artist, 1808, Graphite, watercolor, pen and brown and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 38 3/8 × 25 1/4 inches (97.5

Gloucestershire - a woman and child on a road bordering fields of ripe corn at Moreton-in-Marsh, William John Chamberlayne, 1821–1910, undated, Graphite and watercolor with scratching out on moderately thick, rough, cream wove paper, Sheet:

The Poems of Thomas Gray, Design 91, 'The Triumphs of Owen.', William Blake, 1757–1827, British, between 1797 and 1798, Watercolor with pen and black ink and graphite on moderately thick, slightly textured, cream wove paper with inlaid

A Farmyard, William Henry Hunt, 1790–1864, British, ca. 1815, Watercolor, pen and brown ink, and graphite on moderatley thick, slightly textured, cream laid paper, Contemporary drawn border: 10 1/2 x 12 3/4 inches (26.7 x 32.4 cm) and

Memorial to Richard Taylor and Mrs. Ann Taylor and their Children Richard and Anne from Chiswick Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on

Alton Towers, Lord Shrewsbury's, August 1830, Anne Rushout, ca. 1768–1849, British, 1830, Watercolor on moderately thick, slightly textured, cream wove paper

Spitzbergen, East End, 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

Banner Cross Hall, Sheffield: Exterior Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1819, Graphite, pen and brown ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 12 3/4 × 17 7/8

Peter de Lautour, Richard Crosse, 1742–1810, British, 1793, Gouache and watercolor on ivory, Frame: 4 5/8 x 3 3/8 x 3/4 inches (11.7 x 8.6 x 1.9 cm) and Image: 3 1/2 x 2 7/8 inches (8.9 x 7.3 cm), boy, child, holding, nobility, oval,

Near Gezir Sherg el Hian, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and gray ink on thick, slightly textured, cream wove paper, Sheet: 2 7/8 x 9 7/8 inches (7.3 x 25.1 cm), boat, landscape, pigeon houses, river,

Juvenile Members of the Yacht Club, Richard Dadd, 1817–1886, British, 1853, Watercolor and graphite on thick, slightly textured, greened white wove paper, Sheet: 14 1/8 x 10 1/8 inches (35.9 x 25.7 cm), book, boys, cliff, coats,

Coast Scene near Plymouth, Samuel Prout, 1783–1852, British, undated, Watercolor with brown ink, black ink, and g over graphite on thick, rough, beige board, pasted on mount, Sheet: 18 1/8 × 23 inches (46 × 58.4 cm), beach, boats,

A House of Assembly, Quebec: Perspective View, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1812, Watercolor and graphite with pen and black ink on slightly textured, medium, cream wove paper, Sheet: 13 1/4 × 20 7/8 inches

Temple Church, Samuel Ireland, active 1760–died 1800, British, between 1794 and 1800, Watercolor and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 1/2 × 6 7/8 inches (14 × 17.5 cm) and Mount: 9 × 12 1/2

Caricature, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 5 3/8 × 14 3/4 inches (13.7 × 37.5 cm

Single Brigantine, Sails Furled, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, with pen, in brown ink, black ink and graphite on medium, slightly textured, cream, wove paper, mounted on, moderately thick, slightly

Tynemouth Priory, Northumberland, Thomas Girtin, 1775–1802, British, ca. 1793, Watercolor over graphite on laid paper lmounted on contemporary support paper, Sheet: 6 5/8 x 8 5/8 inches (16.8 x 21.9 cm) and Mount: 9 11/16 x 11 5/8 inches

A Two-Decker Running up the Estuary with Figures on the Beach in the Foreground, William Anderson, 1757–1837, British, 1790, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 11 3/4 × 15

Bay Scene in Moonlight, John Warwick Smith, 1749–1831, British, 1787, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 13 3/8 x 19 7/8 inches (34 x 50.5 cm), bay (body of water), boats, child, clouds,

Parish Church, Front and Partial Right View, Ayot St. Lawrence, Hertfordshire, Samuel Davis, 1757–1819, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 11 1/4 x 15 3/8 inches (28.6 x 39.1

Two Wood Pigeons, Charles Collins, 1660–1744, British, 1736, Watercolor, gouache, brown ink on slightly textured, medium, cream laid paper, Sheet: 21 1/4 × 15 1/8 inches (54 × 38.4 cm), animal art

Lago Maggiore...Stresa, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on thick, moderately textured, cream wove paper, Sheet: 4 3/16 x 8 13/16 inches (10.6 x 22.4 cm), boats, lake, landscape,

Outside the Greengrocer's Shop, Thomas Rowlandson, 1756–1827, British, between 1805 and 1810, Watercolor with pen and brown and gray ink over graphite on moderately thick, slightly textured, beige, wove paper, Sheet: 10 11/16 x 8 1/4

A Carrier's Waggon, Thomas Rowlandson, 1756–1827, British, between 1785 and 1790, Watercolor with pen and black and gray ink on medium, slightly textured, blued white laid paper, Sheet: 10 1/8 x 15 3/16 inches (25.7 x 38.6 cm), carriers,

Adam and Eve, attributed to John Martin, 1789–1854, British, undated, Watercolor, pen and black ink, graphite, and white gouache on medium, slightly textured, cream wove paper, Sheet: 2 1/8 x 2 3/4 inches (5.4 x 7 cm), Adam and Eve in

Wilmot's Hill, Kent, Samuel Palmer, 1805–1881, British, active in Italy (1837–39), ca. 1851, Watercolor, gouache, and black chalk on medium, slightly textured, beige wove paper, Sheet: 10 3/4 × 14 7/8 inches (27.3 × 37.8 cm),

The First Book of Urizen, Plate 28 (Bentley 27), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 10 x 7

Carisbrooke Castle, Isle of Wight, attributed to Michael 'Angelo' Rooker, 1746–1801, British, undated, Watercolor and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 9 7/8 x 16 1/4 inches (25.1 x 41.3 cm) and

The Runaway Coach, Thomas Rowlandson, 1756–1827, British, ca. 1791, Watercolor, pen and black ink, gray ink, and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 7 7/8 x 9 3/4 inches (20 x 24.8 cm), coach

A Sea Piece - A Rough Sea with a Fishing Boat, Joseph Mallord William Turner, 1775–1851, British, 1820 to 1830, Watercolor on medium, slightly textured, cream wove paper, Sheet: 7 7/8 x 11 5/8 inches (20 x 29.5 cm) and Frame: 15 1/4 x 20

A Haywagon in an Open Landscape, attributed to Peter DeWint, 1784–1849, British, undated, Watercolor on moderately thick, moderately textured, cream wove paper, Sheet: 6 1/4 x 9 1/8 inches (15.9 x 23.1 cm), animals, fields, harvest,

Songs of Innocence and of Experience, Plate 2, Combined Title Page (Bentley 1), Print made by William Blake, 1757–1827, British, 1789 to 1794, Relief etching printed in dark-brown with pen and black ink and watercolor on moderately thick,

Design for Polychromatic Decoration of a Church, George Edmund Street, 1824–1881, British, undated, Watercolor, graphite, and gouache with pen and black ink on moderately thick, rough, cream wove paper, Sheet: 11 1/4 × 9 1/2 inches (28.6

An Elderly Man Petitioning Christ, Attributed to John Martin, 1789–1854, British, undated, Watercolor, pen and black ink, pen and brown ink, gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 2 1/8 x 2 3/4

St. Mary's Priory, Thetford, Capt. Francis Grose, 1731–1791, British, undated, Watercolor and pen and ink on medium, slightly textured, cream laid paper, Sheet: 10 7/16 x 14 9/16in. (26.5 x 37cm) and Sheet: 10 5/8 × 14 3/4 inches (27 ×

Deir Ekhmim, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on thick, rough, cream wove paper, Sheet: 2 3/8 x 6 7/8 inches (6 x 17.5 cm), boat, buildings, hills, landscape, river, river, riverbank,

Landscape Composition, Dolbadern, pupil of John Varley, 1778–1842, British, undated, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 7 1/8 x 10 1/8 inches (18.1 x 25.7 cm), castles, cliffs, hills,

The First Book of Urizen, Plate 3, 'Chap: 1 . . . .' (Bentley 3), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in green with watercolor on moderately thick, slightly textured, cream wove paper,

Alpine Landscape, possibly the Matterhorn, William James Muller, 1812–1845, British, ca. 1834, Watercolor and graphite on medium, slightly textured, cream, wove paper, Sheet: 6 x 11 1/2 inches (15.2 x 29.2 cm), geology, landscape,

Venetian Fantasy, John Henderson, 1764–1843, British, follower of Canaletto, 1697–1768, Venetian, active in Britain (1746–55), undated, Watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 12

Skating in Hyde Park, Julius Caesar Ibbetson, 1759–1817, British, ca. 1785, Watercolor, pen and black ink, brown ink, gray ink, and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 9 15/16 × 13 15/16 inches

The Poems of Thomas Gray, Design 21, 'Ode on a Distant Prospect of Eton College.', William Blake, 1757–1827, British, between 1797 and 1798, Watercolor with pen and black ink and graphite on moderately thick, slightly textured, cream wove

Designs executed for Jones and Willis, metal and wood-workers and church furniture manufacturers of Birmingham and London, George Edmund Street, 1824–1881, British, undated, Black ink, graphite, watercolor and gouache, verso: yellow

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

Shelter for Cattle, Julius Caesar Ibbetson, 1759–1817, British, undated, Pen and black ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 2 3/8 × 3 inches (6 × 7.6 cm), animal art, cattle, genre subject,

The Castle Mills Bridge, York, Thomas Shotter Boys, 1803–1874, British, 1839, Graphite and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 4 3/8 x 7 1/8 inches (11.1 x 18.1 cm), architectural subject, bridge

Carrig Cennen Castle, Carmarthenshire, Rev. John Gardnor, 1729–1808, British, undated, Watercolor with pen and black ink and graphite on thick, moderately textured, cream wove paper, Sheet: 13 3/4 × 17 7/8 inches (34.9 × 45.4 cm

Lake of Vico Between Rome and Florence, John Robert Cozens, 1752–1797, British, 1783, Watercolor and graphite on thick, slightly textured, cream laid paper, Sheet: 10 1/8 x 14 13/16 inches (25.7 x 37.6 cm), clouds, Grand Tour, lake,

Memorial to John Porter, Mrs. Sarah Porter and Mrs. Sarah Porter and Mrs. Martha Cooke from Hendon Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor over graphite on medium,

Facade for a Temple of Peace, Kew Gardens, Surrey, Sir William Chambers RA, 1723–1796, British, ca. 1763, Graphite, pen and black ink, watercolor and gray wash on moderately thick, moderately textured, cream laid paper, Sheet: 12 5/8 x

Canonteign, Devon, John White Abbott, 1763–1851, British, 1804, Watercolor with pen and gray ink on six joined sheets of medium, slightly textured, cream wove paper, Sheet: 23 3/4 x 29 3/8 inches (60.3 x 74.6 cm), Mount: 22 1/4 x 30 5/8

Design for Setting of Charles Kean's Richard II at the Princess's Theatre on March 12, 1857, Act 5, Scene 4, George Cressal Ellis, ca. 1810–1875, undated, Watercolor and graphite on wove paper, laid down on contemporary laid paper mount,

Plan of an Estate Lying in Grundisburgh and Clopton, Isaac Johnson, 1754–1835, British, 1779, Pen and brown ink and watercolor on slightly textured, moderately thick, white wove paper, Sheet: 22 3/8 × 28 inches (56.8 × 71.1 cm),

Study of Rocks at Mumbles, Edward Duncan, 1803–1882, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 10 1/4 x 13 1/4 inches (26 x 33.7 cm), boulders, cave, landscape, rocks

Young's Night Thoughts, Page 90, 'That touch, with charm celestial heals the soul', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Illustration for R.S. Surtees', 'The Analysis of the Hunting Field': The Leap: 'That Will Shut Out Many, and Make the Thing Select', Henry Thomas Alken, 1785–1851, British, undated, Watercolor over etched outline, with gouache, and pen in

Portrait of a Lady, Jeremiah Meyer RA, 1735–1789, German, active in Britain, undated, Watercolor and gouache on ivory, Image: 2 1/2 x 2 1/8 inches (6.4 x 5.4 cm) and Frame: 2 3/4 x 2 3/8 x 1/2 inches (7 x 6 x 1.3 cm), portrait

Scenes from Life in Paris: Man Seated and Man Carrying Basket, Ambrose Poynter, 1796–1886, British, ca. 1835, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 3 7/8 × 5 5/16 inches (9.8

An Alarming Anniversary!!! or, King's Champion and 'Squire, Alamode Don Quixote and Sancho, taking a peep at the Crown and Anchor, William Dent, active 1784–1793, 1791, Etching with watercolor on laid paper, Sheet: 10 x 14in. (25.4 x

A Peasant Family with Donkey, Samuel Shelley, 1750–1808, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 8 × 7 3/4 inches (20.3 × 19.7 cm

Senegalese Wolf or Grey Jackal, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink, gray ink, brown ink and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 4 1/8 × 6 3/8

Menai Bridge from Isle of Anglesea, September 3, 1830, Anne Rushout, ca. 1768–1849, British, 1830, Watercolor, pen and black ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/4 × 20 inches (17.1 ×

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), beach, channel (water

Window West End, South Aisle, Saint Vincent, Augustus Welby Northmore Pugin, 1812–1852, British, Augustus Charles Pugin, 1762–1832, French, undated, Graphite, watercolor, pen and black ink, and pen and brown ink on moderately thick,

Kasr es Saiad, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and cochineal ink on moderately thick, slightly textured, cream wove paper, Sheet: 3 1/16 x 11 15/16 inches (7.8 x 30.3 cm), buildings, cliffs, landscape,

Child Seated, Nicholas Pocock, 1740–1821, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 3/4 × 3 1/4 inches (9.5 × 8.3 cm), child, figure study, seated

Street Scene, Lined with Buildings, Thomas Sully, 1783–1872, American, undated, Watercolor and graphite on medium, moderately textured, beige, wove paper, Sheet: 7 3/8 × 10 1/16 inches (18.7 × 25.6 cm

The Undercliff, Steephill, Isle of Wight, Thomas Rowlandson, 1756–1827, British, undated, Watercolor over graphite on moderately thick, slightly textured, beige, wove paper, Sheet: 4 3/4 x 17 1/8 inches (12.1 x 43.5 cm), beach, coast,

Carting Hops and Other Studies, Robert Hills, 1769–1844, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/2 × 8 7/8 inches (29.2 × 22.5 cm), cart, figure study, hats, men,

Maharraka, 7:25 am, 14 February 1867 (463), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on thick, rough, cream wove paper, Sheet: 3 7/8 × 6 7/8 inches (9.8 × 17.5 cm), architectural subject,

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

Deerhound and Bitch Cornering a Stag at the Edge of a Woodland Pool, Newton Limbird Smith Fielding, 1799–1856, British, 1832, Watercolor, gum arabic gouache, with pen in brown ink and black ink on medium, moderately textured, cream, wove

Forest Landscape, John William North, 1842–1924, British, ca. 1834, Watercolor and gouache on moderately thick, slightly textured, cream wove paper, Sheet: 16 1/2 × 21 1/2 inches (41.9 × 54.6 cm), foliage, forest, landscape, trees,

Brass Plate for John Heygge, from Hayes Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor over graphite on medium, sligthly textured, cream wove paper, Sheet: 14 1/8 × 10 3/4 inches (35.9

Mary and Nathaniel Jefferys, Andrew Plimer, 1763–1837, British, undated, Watercolor and gouache on ivory, Image: 3 1/2 x 2 3/4 inches (8.9 x 7 cm) and Frame: 4 1/8 x 2 7/8 x 1/4 inches (10.5 x 7.3 x 0.6 cm), brother, children, portrait,

Mount Sabine & Possessions 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 cm) and Binding: 16 1/8

Carnedd Llewelyn and Carnedd David, Carnarvonshire, Seen Across the River Ogwen, John Warwick Smith, 1749–1831, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper mounted on moderately thick,

Foxhunting: Stopping Hounds That Have Changed, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink, gray ink, and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 12 1/2 × 17 7/8 inches

Memorial to Alice Coburne from Stratford Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 14 7/8 × 10 7/8

Opposite Kom Ombos Abu Jer, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 2 1/2 x 1 5/8 inches (6.3 x 4.1 cm), genre subject, palm trees, study

Design for Ardgowan House, Scotland: South South East Elevation, Claud Cleghorn, active 1797–1800, 1797, Graphite, watercolor, gray wash, and pen and black ink on smooth, moderately thick, beige wove paper bar scale of 1/12 inch to 1

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Mayfield, John McKinlay, 19th century, 1812, Graphite, watercolor, gray wash, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 22 3/4 ×

Portrait of a Gentleman, Attributed to Felicita Hoffmann, active from 1728, died 1760, Italian, Style of Rosalba Carriera, 1675–1757, Italian, ca. 1730, Watercolor and gouache on ivory in black oval wood frame, Image: 2 5/8 × 1 7/8

Low Tide, boat landing, Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on thick, cream, rough wove paper, Sheet: 7 1/2 x 11 inches (19.1 x 27.9 cm), clouds, docks, landing (marine structure), marine art, men,

Dr O'Meara Preaching, Thomas Rowlandson, 1756–1827, British, 1809, Watercolor over graphite with pen and dark gray ink on medium, slightly textured, beige, wove paper, Sheet: 4 1/8 x 2 7/8 inches (10.5 x 7.3 cm), male, papers, portrait,

The Club Room, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown and gray ink over graphite; verso: graphite on medium, slightly textured, cream, wove paper, Sheet: 4 15/16 x 8 13/16 inches (12.5 x 22.4 cm),

Jerusalem, Plate 87, 'Repelling weeping Enion....', Print made by William Blake, 1757–1827, British, 1804 to 1820, Relief etching printed in orange with pen and black ink and watercolor on moderately thick, smooth, cream wove paper,

Classic Composition, John Varley, 1778–1842, British, ca. 1800, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 6 1/16 x 4 9/16 inches (15.4 x 11.6 cm), castle, Classical, genre subject, hills,

Three Men (Jan 31/68), unknown artist, nineteenth century, 1868, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 10 × 7 inches (25.4 × 17.8 cm), figure study, hats, men

Brass Plate for William and Jane Smith from Enfield Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 13 7/8

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

St. George's Hall, Liverpool: Interior Elevation, Charles Robert Cockerell, 1788–1863, British, ca. 1853, Graphite, pen and gray ink and watercolor on slightly textured, moderately thick, wove paper, Sheet: 11 1/4 × 7 1/8 inches (28.6 ×

Memorials to Miss Sophia Henrietta Voelcker and Thomas Crump from Hampton Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove

On the Coast of Brittany, Alexander T. Francia, 1820–1884, 1839, Watercolor, graphite, and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 7 1/2 × 12 3/8 inches (19.1 × 31.4 cm), beach, cliffs, coast,

Rowlandson and Wigstead on Tour, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and black and gray ink on medium, moderately textured, cream, laid paper, Sheet: 7 5/16 x 11 7/16 inches (18.6 x 29.1 cm), candles,

Near Maimoun, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, gouache, pen and brown ink on moderately thick, slightly textured, beige wove paper, Sheet: 1 9/16 x 11 5/8 inches (4 x 29.5 cm), boats, geese, hills,

Circassians, William Heath, 1795–1840, British, 1824, Watercolor, with pen, in brown ink, gouache and graphite on very thick, slightly textured, beige, cardboard, Sheet: 13 15/16 × 10 15/16 inches (35.4 × 27.8 cm), figure study

Herstmonceux Castle, East Sussex: The Chicken Court, James Lambert of Lewes, 1725–1788, British, undated, Graphite and watercolor within triple-ruled and wash border on moderately thick, moderately textured, cream laid paper, Sheet: 18 5/8

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