Images at Librifly

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Harvesters Resting in a Corn Field, Thomas Rowlandson, 1756–1827, British, between 1805 and 1810, Watercolor, pen and black ink, pen and red ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 8 1/8 × 11 3/4 inches

William Lee, October 1, 1792, Robert Mabon, died 1798, British, 1792, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 1/2 × 6 inches (14 × 15.2 cm), portrait

Miss Peagreen's Papa & Mama Walking in the Public Walks at a Bathing Place, Nathaniel Dance RA, 1735–1811, British, undated, Pen and black ink and watercolor over graphite on medium, moderately textured, laid paper mounted to moderately

Longleat, Somerset: Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1810, Graphite, pen and black ink, watercolor on slightly textured, medium, cream wove paper, Sheet: 15 3/16 × 21 1/2 inches (38.6 × 54.6 cm),

Sidmouth from Offshore, Henry Haseler, active 1814–1825, ca. 1815, Watercolor with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 6 3/4 × 12 5/8 inches (17.1 × 32.1 cm), boats, buildings, cityscape, clouds,

Captain Cork Rump, Print made by James Hook, ca. 1772–1828, British, 1786, Etching with hand coloring in watercolor, Sheet: 8 1/4 x 7in. (21 x 17.8cm

Middle Temple Gate, Samuel Ireland, active 1760–died 1800, British, between 1794 and 1800, Watercolor, graphite, and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 x 6 1/4in. (12.7 x 15.9cm) and Mount: 9 × 12

East India House, Thomas Malton the Younger, 1748–1804, British, undated, Watercolor over etched outline on medium, slightly textured, cream, wove paper, mounted on, very thick, slightly textured, beige, wove paper, Mount: 12 9/16 ×

One from Views in Saxony, France, Spain, Reba, Italy, Sicily..., Sir Richard Colt Hoare, 1758–1838, British, John Warwick Smith, 1749–1831, British, ca. 1817, Watercolor and black ink over graphite on wove paper, Sheet: 11 1/4 x 14

The Brown Hyena, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink, brown ink and graphite on medium, smooth, cream, wove paper, Sheet: 3 7/8 × 6 5/8 inches (9.8 × 16.8 cm), animal art

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Culdoch, unknown artist, undated, Graphite, pen and black and brown ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 19 3/4 × 13 11/16 inches

Landscape with trees, Anthony Devis, 1729–1817, British, 1801, Watercolor, graphite and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 3/8 × 8 inches (13.7 × 20.3 cm), cows, landscape, pasture, shepherd,

A Game of Bowls, John Collet, ca. 1725–1780, British, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, blued white, laid paper, Sheet: 8 1/8 × 10 1/4 inches (20.6 × 26 cm), bowls, buildings, field,

Drawing made in Italy and Asia Minor during Grand Tour, Lewis Vulliamy, 1791–1871, British, between 1818 and 1822, Graphite and watercolor on slightly textured, medium cream wove paper, Sheet: 9 3/4 × 15 3/16 inches (24.8 × 38.6 cm),

The Sailor's Return, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, with pen and brown, red-brown, and gray ink, over graphite on medium, slightly textured, beige wove paper, Sheet: 8 11/16 x 6 15/16 inches (22.1 x 17.6

Young's Night Thoughts, Page 15, 'The Longest Night Though Longer Far, Would Fail', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

A Tiger Attacking a Horse, Robert Mabon, died 1798, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 4 1/2 × 3 5/8 inches (11.4 × 9.2 cm), animal art

Figures on the Bank of a Wooded Lane, with Sea in Distance Left, George Barret Jr., 1767–1842, British, undated, Watercolor on medium, moderately textured, cream laid paper, Sheet: 6 × 9 inches (15.2 × 22.9 cm), coast, figures

Singer's Farm, Bushey, Hertfordshire, after Henry Edridge, 1769–1821, British, undated, Watercolor, with pen, in brown ink, and graphite on moderately thick, moderately textured, beige, laid paper, Sheet: 12 3/4 × 17 11/16 inches

A Proposed plan for Trafalgar Square, George Belton Moore, 1805–1875, British, 1841, Watercolor and white gouache over graphite and brown wash on thick, slightly textured, beige wove paper, Sheet: 10 13/16 x 21 1/16 inches (27.5 x 53.5 cm),

Well at Bolonchen, Yucatan, Frederick Catherwood, 1799–1854, British, 1843, Watercolor with pen in brown ink, brown wash, graphite, and scratching out on thick, slightly textured, cream, wove paper, mounted on, moderately thick,

South East View of the Church and Palace at Croydon, Surrey, John Chessell Buckler, 1793–1894, British, 1817, Watercolor and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 10 × 13 1/4 inches (25.4 × 33.7 cm),

Foxhunting: The Death, Henry Thomas Alken, 1785–1851, British, ca. 1830, Graphite and watercolor on medium, moderately textured, cream, wove paper, Sheet: 9 9/16 × 26 15/16 inches (24.3 × 68.4 cm

View of New Street, near London Bridge, John Varley, 1778–1842, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream laid paper mounted on thick, slightly textured, cream card, Mount: 7 1/4 x 10 1/2

Newgate, Thomas Malton the Younger, 1748–1804, British, undated, Watercolor over etched outline on medium, slightly textured, cream, wove paper, mounted on, moderately thick, slightly textured, beige, wove paper, Mount: 11 3/4 × 15

Pentre Ddu Bridge, North Wales, Thomas Collier, 1840–1891, British, 1863, Graphite and watercolor on thick, rough, cream wove paper, Sheet: 9 5/8 x 13 7/8 inches (24.4 x 35.2 cm), architectural subject, birds, bridges (built works),

Gate-way, Saint Mary's Wiggenhall, Norfolk, John Sell Cotman, 1782–1842, British, ca. 1818, Watercolor and graphite on medium, slightly textured, cream wove paper, Mount: 8 7/8 x 11 1/8 inches (22.5 x 28.3 cm) and Sheet: 7 3/8 x 10 inches

Gibraltar, South West by West, John Thomas Serres, 1759-1825, British, undated, Watercolor over graphite on medium, slighlty textured, cream wove paper, Sheet: 6 1/4 x 18 5/8 inches (15.9 x 47.3 cm) and Image: 2 3/8 x 15 1/8 inches (6 x 38.4

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

Carisbrook Castle, Isle of Wight, Frederick Calvert, ca. 1785–1845, Irish, undated, Watercolor and gouache on medium, slightly textured, cream wove paper mounted to card, Sheet: 4 7/8 × 7 7/8 inches (12.4 × 20 cm) and Mount: 5 × 8

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1837, Graphite, watercolor, pen and brown ink on slightly textured, moderately thick, cream wove paper, Sheet: 17 1/4 × 13 1/2 inches (43.8 × 34.3 cm) and

Horses and a Cart at a Sandpit, Thomas Rowlandson, 1756–1827, British, between 1785 and 1790, Watercolor with pen and gray and black ink on moderately thick, moderately textured, blued white, laid paper, Sheet: 10 15/16 x 13 7/16 inches

The London Citizen, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and brown ink on medium, slightly textured, blued white wove paper, Sheet: 5 5/16 x 9 inches (13.5 x 22.9 cm), bonnets (hats), carriages,

The Hedger and Ditcher, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown ink over graphite; verso: blue watercolor blot on medium, moderately textured, cream wove paper, Sheet: 6 1/2 x 4 9/16 inches (16.5 x

Jerusalem, Plate 91, 'It is easier to forgive an enemy....', 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

The King's Bastion, the Club House Hotel, Gibraltar, George Lothian Hall, 1825–1888, British, 1844, Pen and black ink, watercolor, graphite and scraping out on thick slightly textured, cream card, Sheet: 6 1/4 × 10 inches (15.9 × 25.4

Vestibule at Newby Hall, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1813, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet: 19 3/4 × 14 inches (50.2 × 35.6 cm) and

Colonel Thornton Driving Tandem on His Sporting Tour of Scotland, George Garrard, 1760–1826, British, 1786, Watercolor, pen and black ink, gray ink, brown ink, and graphite on moderately thick, moderately textured, beige, laid paper,

Near Gamille, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, gouache, pen and brown ink on moderately thick, moderately textured, gray wove paper, Sheet: 2 7/16 x 10 11/16 inches (6.2 x 27.1 cm), hills, landscape, palm

Morning Ride, Henry Thomas Alken, 1785–1851, British, between 1822 and 1823, Graphite and watercolor on thin, smooth, blued white, wove paper, Sheet: 7 3/16 × 9 1/2 inches (18.3 × 24.1 cm), genre subject, horseback riders, horseback

Portrait of a Youth in a Fur Hat, John Baverstock Knight, 1785–1859, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 7 1/2 × 5 inches (19.1 × 12.7 cm), boy, fur hat, jacket,

Magdalen Tower and Bridge, Oxford, George Jones, 1786–1869, British, undated, Watercolor, with pen, in brown ink, graphite and white gouache on moderately thick, moderately textured, blue, wove paper, Sheet: 9 5/16 × 7 1/2 inches

Mountainous Landscape, unknown artist, nineteenth century, undated, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 7 × 10 inches (17.8 × 25.4 cm), landscape, mountains

A View in a Lane near Hampstead, Dominic M. Serres, c.1761–1804, 1801, Watercolor with brown and black ink touched with gouache over graphite on textured, moderately thick, cream wove paper, Sheet: 17 3/8 × 26 11/16 inches (44.1 × 67.8 cm)

Near Eb-bosh, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream, wove paper, mounted on, moderately thick, moderately textured, cream wove paper, Sheet: 1 15/16 x 5

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, red ink, graphite and pen with watercolor and gouache

Near Nesle Sheikh Hassan, Looking South, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on moderately thick, moderately textured, beige wove paper, Sheet: 2 5/16 x 6 7/8 inches (5.9 x 17.5

Songs of Innocence and of Experience, Plate 32, 'Earth's Answer' (Bentley 31), 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,

Boschbeek & Groenendaal: Bosbeek en Groenendall nabig Heernstede, Gerrit Jan Schouten, Born 1815, Dutch, undated, Sepia and watercolor on smooth, medium, cream wove paper, Sheet: 6 5/8 × 8 7/8 inches (16.8 × 22.5 cm

Two Turkish Cavalrymen, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, smooth, cream, wove paper, Sheet: 8 7/16 × 11 1/2 inches (21.4 × 29.2 cm), military art

From Gravesend: The Block House in Essex, Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), undated, Watercolor on medium, slightly textured, cream laid paper medium, slightly textured, cream laid paper, Sheet: 7 1/16

Jerusalem, Plate 9, 'Condens'd his Emanations....', 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,

View of Lucan House, John James Barralet, 1747–1815, British, 1782, Watercolor, pen and black ink and pen and brown ink on medium, slighlty textured, cream laid paper mounted to medium, slightly textured, cream laid paper, Sheet: 4 7/8

Hill Hall, Essex, unknown artist, ca. 1780, Pen and ink and watercolor on medium, slightly textured, beige laid paper, Sheet: 12 3/4 x 22 15/16 inches (32.4 x 58.3 cm), architectural subject, architecture, building, elevation (drawing),

The Whittington Stone by Moonlight, Robert Bremmel Schnebbelie, active 1803–1849, undated, Watercolor on medium, slightly textured, cream wove paper, Sheet: 7 3/8 × 13 inches (18.7 × 33 cm

The Poems of Thomas Gray, Design 111, 'Elegy Written in a Country Church-Yard.', William Blake, 1757–1827, British, between 1797 and 1798, Watercolor with pen and black ink and graphite on moderately thick, slightly textured, cream wove

Reflections, or the Music Lesson, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and gray ink and pen and brown ink on medium, moderately textured cream wove paper, Sheet: 4 5/8 x 6 3/16 inches (11.7 x 15.7

Sir William Hamilton's Villa, Joseph Mallord William Turner, 1775–1851, British, ca. 1795, Watercolor and graphite on medium, slightly textured, cream wove paper, mounted on moderately thick wove paper, Sheet: 6 3/4 x 9 1/4 inches (17.1 x

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

A Dame de Picpus, David Roberts, 1796–1864, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 1/4 × 4 13/16 inches (23.5 × 12.2 cm), costume, crucifix, figure study, nun, robe, woman

Ross Castle, Killarney, Sept. 4, 1812, George Jones, 1786–1869, British, 1812, Watercolor on moderately thick, rough, blue wove paper, Sheet: 5 × 10 inches (12.7 × 25.4 cm), architectural subject, castle, clouds, landscape,

Ferdinand and Ariel, Mary Hoare, 1753–1820, British, ca. 1781, Watercolor and graphite, with scraping on moderately thick, slightly textured, cream wove paper, Mount: 13 13/16 x 11 1/4 inches (35.1 x 28.5 cm), Contemporary drawn border:

Pliny's Villa, belonging to the Marquis Canarizi near Como, John Webber, 1752–1793, British, 1787, Graphite and watercolor on conjoined sheets on medium, slightly textured, cream laid paper, Sheet: 11 3/8 × 18 7/8 inches (28.9 × 47.9

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

Mr. and Mrs. Jolly at their Country House, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and gray ink and pen and red brown ink on medium, lightly textured, cream wove paper, Sheet: 5 7/8 x 9 1/4 inches

Design for Brocklesby Park, Lincolnshire: Bird's Eye View, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 13 5/16 x 20 5/8 inches (33.8 x 52.4

A Sandpit, Paul Sandby RA, 1731–1809, British, undated, Watercolor, pen and brown ink and graphite on thick card, Sheet: 8 1/4 x 10 7/8 inches (21 x 27.6 cm), carts, horses (animals), landscape, trees

The School Girl, Print made by Henry Ryall, 1811–1867, British, undated, Engraving with handcoloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 7 11/16 × 5 1/8 inches (19.5 × 13 cm

February 1st: Amy Fear Me Not (Vol. 1, p. 81) February 2nd: Tressilian Drew His Sword as He Spoke (Vol. 1, P. 89), Thomas Stothard, 1755–1834, British, undated, Watercolor with pen and black ink and pen and brown ink on thin, smooth, cream

Lady Macbeth, Sleepwalking, Mary Hoare, 1753–1820, British, 1781, Watercolor with black ink, scraping, and gouache over graphite on thick, slightly textured cream wove paper mounted on moderately thick, slightly textured cream laid paper

Chepstow Castle, John Varley, 1778–1842, British, 1832, Watercolor on medium, slightly textured, cream wove paper, Sheet: 12 x 25 1/4 inches (30.5 x 64.1 cm), arches, castle, cliffs, clouds, hills, houses, landscape, plains, river,

Jerusalem, Plate 49, 'The secret coverts of Albion....', 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,

An English Postilion, Thomas Rowlandson, 1756–1827, British, ca. 1785, Watercolor, with pen, in brown ink, and graphite on medium, slightly textured, beige, laid paper, mounded on, thick, moderately textured, beige, laid paper,

Loch Scavaig, Isle of Skye, William Daniell, 1769–1837, British, ca. 1819, Watercolor with gouache and scraping over graphite on medium, slightly textured, cream wove paper, pasted on very thick, slightly textured, cream card, Mount: 9

Coolies on the Road Near Kalicut, Malabar, Edward Lear, 1812–1888, British, undated, Watercolor, gouache, and gum arabic on medium, moderately textured, cream wove paper, Sheet: 10 × 15 9/16 inches (25.4 × 39.5 cm), figures

The Poems of Thomas Gray, Design 13, '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

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

Near Gau el Kebir, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, cochineal, pen and brown ink on medium, slightly textured, cream, wove paper, mounted on thick, moderately textured, cream wove paper, Sheet: 2 3/4 x 7

Welsh Landscape, Attributed to William Havell, 1782–1857, British, active in India (1820–26), undated, Watercolor on moderately thick, rough, cream wove paper, Sheet: 4 1/2 × 6 inches (11.4 × 15.2 cm), clouds, figures, landscape,

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

Lady Bective, Andrew Robertson, 1777–1845, British, undated, Watercolor and gouache on ivory, Image: 3 1/8 x 2 1/2 inches (7.9 x 6.4 cm) and Frame: 6 7/8 x 5 1/4 x 1/4 inches (17.5 x 13.3 x 0.6 cm), portrait

Songs of Innocence and of Experience, Plate 37, 'The Fly' (Bentley 40), 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, slightly

Juniperus procera Endl. (African Pencil Cedar): finished drawing of trees's habit, James Bruce, 1730–1794, British, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 16 1/2 × 13 inches

Figures in a Lakeside Romantic Landscape, Robert Adam, 1728–1792, British, 1787, Watercolor and graphite on medium, beige, moderately textured wove paper mounted on medium, cream, slightly textured laid paper, Sheet: 5 7/8 x 9 inches

Study for a Stage Set: a Fortress with Cannon and Buildings, Michael 'Angelo' Rooker, 1746–1801, British, undated, Watercolor and graphite on moderately thick, moderately textured, blue, laid paper, Sheet: 7 1/2 x 16 1/2 inches (19.1 x

A View of Hobart, Tasmania, Lt. Gen. Charles Emilius Gold, 1803?–1871, 1846, Watercolor and gouache over graphite on moderately thick, moderately textured, cream laid paper, Sheet: 7 1/2 x 13 5/16in. (19.1 x 33.8cm) and Sheet: 7 1/2 × 13

Portrait of Aazim Alomra, unknown artist, eighteenth century, Indian artist, undated, Watercolor and graphite with pen and black ink on thin, slightly textured, cream wove paper, Sheet: 8 1/4 × 5 3/4 inches (21 × 14.6 cm), figure study,

Saint Augustine's Gate, Canterbury, Joseph Mallord William Turner, 1775–1851, British, ca. 1793, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 13 1/2 x 19 3/8 inches (34.3 x 49.2 cm), architectural

One of eighteen designs for a series of plates illustrating Venus and Adonis, Hablot Knight Browne, 1815–1882, British, undated, Graphite, brown chalk, watercolor and gouache on medium, slighlty textured, gray wove paper, Sheet: 6 5/8 ×

Norham Castle, Northumberland, Capt. Francis Grose, 1731–1791, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 4 1/16 × 6 1/16 inches (10.3 × 15.4 cm) and Mount: 9 1/16 × 11 5/16 inches

Design for Stoke Park, unknown artist, undated, Watercolor with black ink and graphite on very thick, slightly textured cream wove paper, Sheet: 21 1/2 × 36 1/2 inches (54.6 × 92.7 cm), architectural subject

Windmill on the Sea Coast Near Hastings, Henry Morton, ca. 1807–1825, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 5 3/16 × 7 1/2 inches (13.2 × 19.1 cm), architectural subject,

Remarkable Iceberg, 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),

Design for setting of Charles Kean's Richard II at the Princess's Theatre on March 12, 1857, Act 1, Scene 2, George Cressal Ellis, ca. 1810–1875, undated, Watercolor, graphite, and gouache on thin wove paper stained for tracing, Mount: 7

Highland Landscape with Figures, Charles Bentley, 1806–1854, British, ca. 1847, Watercolor, pen and gray ink, graphite, and gouache on moderately thick, rough, cream, wove paper, Sheet: 13 3/8 × 20 7/16 inches (34 × 51.9 cm

The Beach at Culbone, Somerset, unknown artist, (J. M.), formerly attributed to John Martin, 1789–1854, British, 1826, Watercolor with graphite and scratching out on medium, slightly textured, cream wove paper, Sheet: 3 3/8 x 6 1/8

One from Views in Saxony, France, Spain, Reba, Italy, Sicily..., Sir Richard Colt Hoare, 1758–1838, British, John Warwick Smith, 1749–1831, British, ca. 1817, Watercolor and black ink over graphite on wove paper, Sheet: 11 1/4 x 14

Thames Side Buildings, Samuel Scott, 1701/2–1772, British, undated, Watercolor, graphite and pen and black ink on medium, slightly textured, cream laid paper, with thin, slightly textured, blue laid paper border, mounted on moderately

Canary Fisherman, Alfred Diston, active 1818–1829, 1825, Watercolor, graphite and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 9 1/8 × 6 1/2 inches (23.2 × 16.5 cm), costume, figure study, genre subject,

The Chapel at Wakefield Bridge, Yorkshire, Richard Thomas Underwood, 1772–1835, British, undated, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 10 × 14 inches (25.4 × 35.6 cm),

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