Images at Librifly

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Jerusalem, Plate 20, 'But when they saw 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,

The Poems of Thomas Gray, Design 73, 'The Fatal Sisters.', 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 Tiger, Full-Length, in Profile, Walking Towards Right, Thomas Stothard, 1755–1834, British, undated, Watercolor, with pen, in gray ink, and black ink, over graphite on moderately thick, slightly textured, beige, wove paper,

The Poems of Thomas Gray, Design 69, 'The Fatal Sisters.', 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

Landscape in Wales with Castle, Lake, and Rocky Foreground, pupil of John Varley, 1778–1842, British, 1815, Watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 18 1/4 inches (17.8 × 46.4 cm), boat, castle,

Oriental Hound, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink and gray ink and graphite on medium, slightly textured, cream, wove paper, Sheet: 4 1/4 × 6 1/2 inches (10.8 × 16.5 cm), animal art

Plan for Entrance at Hinton St. George, John Kempshead, active 1808, 1812, Graphite, pen and black ink, watercolor, pen and brown ink on moderately textured, moderately thick, cream laid paper bar scale of 1/10 inch to 1 foot, Sheet: 22

Halse Hall, unknown artist, ca. 1780, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 6 3/4 × 9 5/8 inches (17.1 × 24.4 cm), architectural subject, gate, hall, tropics

Stag Hunting - The Meet: a Hind Released From a Van.., Samuel Alken, 1756–1815, British, undated, Watercolor, with pen, in brown ink, black ink, grpahite, and gouache on moderately thick, moderately textured, blued white, wove paper,

Man in a Brimmed Hat, Attributed to Luke Clennell, 1781–1840, British, undated, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 15 3/8 x 11 7/8in. (39.1 x 30.2cm), black, coat, collar, figure study,

Herstmonceux Castle, East Sussex: South View of the Green 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,

H.M.S. St. Vincent at Plymouth, Nicholas Condy, 1793–1857, British, undated, Pen and black ink, watercolor and gouache on medium, slightly textured, gray wove paper, Sheet: 4 3/16 × 10 1/16 inches (10.6 × 25.6 cm), beach, marine art,

Black-backed Jackal, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink, gray ink and graphite on medium, slightly textured, white, wove paper, Sheet: 4 1/4 × 6 9/16 inches (10.8 × 16.7 cm), animal

The Riding School, Joseph Crawhall, 1861–1913, British, undated, Watercolor on medium, slightly textured, cream laid paper, Sheet: 9 × 12 inches (22.9 × 30.5 cm), genre subject, horses (animals), men, riding school

Upton-on-Severn, William Turner of Oxford, 1789–1862, British, undated, Watercolor and gouache over graphite on thick, smooth, beige wove paper, Sheet: 11 x 7 1/2 inches (27.9 x 19.1 cm), anchors (watercraft equipment), architectural

Margate, William Callow, 1812–1908, British, active in France, 1849, Watercolor with pen in brown ink over graphite on beige, moderately thick, moderately textured, wove paper, Sheet: 10 1/4 x 14 3/16 inches (26 x 36 cm), boats,

Tomb of John Evans from Feltham Church, 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: 15 1/8 × 11 inches (38.4 × 27.9 cm),

A Woody Landscape, William Blake, 1757–1827, British, ca. 1801, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 5 7/8 x 9 inches (14.9 x 22.9 cm), hills, landscape, path, trees, woods

Farm Buildings and Well, Poland, Robert Polhill Bevan, 1865–1925, British, ca. 1908, Black chalk and watercolor on medium, cream, smooth wove paper, Sheet: 9 3/4 x 13 3/4 inches (24.8 x 34.9 cm), buildings, farm, landscape, well

Font at Dersingham Church, Norfolk, John Sell Cotman, 1782–1842, British, 1815, Watercolor over graphite on medium, smooth cream wove paper, Sheet: 7 1/4 x 6 1/4 inches (18.4 x 15.9 cm) and Contemporary drawn border: 7 3/8 x 6 3/8 inches

The Lake, Hawkstone Park, Shropshire, John Emes, 1762–1810, British, 1790, Graphite, watercolor and pen with brown and black ink on smooth, medium, cream wove paper, Sheet: 16 3/8 × 23 3/4 inches (41.6 × 60.3 cm

Jerusalem, Plate 99, 'All Human Forms identified....', 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,

Single Brig; Sketches of Separate Stern and Rubber, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, with pen, in gray ink and graphite on medium, moderately textured, beige, wove paper, mounted on, moderately thick,

River Landscape with a Single Arched Bridge, John Warwick Smith, 1749–1831, British, 1797, Watercolor and gouache on medium, smooth wove paper mounted on thick slightly textured, cream laid paper, Sheet: 5 1/8 × 7 5/8 inches (13 × 19.4

Fat and Thin, George Cruikshank, 1792–1878, British, undated, Watercolor, pen and brown ink, and graphite on medium, moderately textured, gray paper, Sheet: 6 × 5 inches (15.2 × 12.7 cm), caricature, men, soldier

Young's Night Thoughts, Page 17, 'Night the Second, On Time, Death and Friendship.', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

On the Wye, David Cox, 1783–1859, British, ca. 1832, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 7 3/4 x 11 5/8 inches (19.7 x 29.5 cm), landscape, river, trees, Severn, United Kingdom, Wye

Procyon Cancrivorus, Crab-eating Racoon, Black Variety, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, gray ink and graphite on mediium, smooth, white, wovve paper, Sheet: 4 1/16 × 6 1/2 inches

Young's Night Thoughts, Page 86, 'His Hand the Good Man Fastens on the Skies', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Landscape with Horses, Farmer and Dog, George Morland, 1763–1804, British, 1794, Watercolor and graphite on thick, slightly textured, beige, wove paper, Contemporary drawn border: 15 3/8 x 18 5/16 inches (39.1 x 46.5 cm) and Sheet: 14 3/8

Portrait Study of John Philip Kemble, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray-brown ink and graphite, with watercolor, and pen and ink line border on medium, slightly textured, wove paper, mounted on

A View at Blackwall, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, graphite, pen and brown ink, and pen and gray ink on medium, slightly textured, cream wove paper, Mount: 7 5/8 x 10 inches (19.4 x 25.4 cm) and Sheet: 4

Southwest View of Middle Temple, Samuel Ireland, active 1760–died 1800, British, 1800, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 5 × 6 3/4 inches (12.7 × 17.1 cm) and

Cobham Hall, Kent: Chamber Floor Plan, James Wyatt, 1746–1813, British, ca. 1790, Graphite, pen and black ink and watercolor on moderately thick, slightly textured, cream laid paper, Sheet: 10 3/4 x 20 1/2 inches (27.3 x 52.1 cm),

Old Harry, Swanage Bay, John Thomas Serres, 1759-1825, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 5 3/8 x 19 inches (13.7 x 48.3 cm), cliffs, landscape, sea, water, Dorset,

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

Captain Barclay's Rally Match - The Finish, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown and gray ink over graphite on thick, moderately textured, wove paper, Sheet: 5 11/16 x 9 3/16 inches (14.4 x 23.3

Young's Night Thoughts, Page 49, 'As if the sun could envy, check'd his beam', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Drury Lane. The School for Scandal, Thomas Rowlandson, 1756–1827, British, And Henry Wigstead, c.1745–1793, British, undated, Watercolor with pen and black, gray and brown ink over graphite on moderately thick, moderately textured,

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, undated, Graphite, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 16 15/16 × 13 1/4 inches (43 × 33.7 cm) and Image: 10 9/16 ×

The Toll-house with a Coach Crossing the Bridge, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 7 1/2 × 10 inches (19.1 × 25.4 cm), bridge

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 white gouache on medium, slightly textured, gray wove paper, Sheet: 6

The Ruins of Leiston Abbey, Thomas Hearne, 1744–1817, British, 1781, Watercolor, pen and black ink, gouache, and graphite on medium, slightly textured, cream laid paper, Contemporary drawn border: 9 3/4 x 12 3/8 inches (24.8 x 31.4 cm)

Mountain Landscape: with cows and goats foreground and figures, left, Peter La Cave, active 1769–1810, 1801, Watercolor, pen and black ink on medium, slightly textured, beige wove paper, Sheet: 7 1/2 × 10 1/8 inches (19.1 × 25.7 cm),

From Portico at Wanstead Grove, May 24, 1825, Anne Rushout, ca. 1768–1849, British, 1825, Watercolor, graphite, and pen and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 21 inches (17.8 × 53.3 cm) and

Gebelein, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, white, gouache, pen and brown ink on moderately thick, moderately textured, brown wove paper, Sheet: 2 9/16 x 10 13/16 inches (6.5 x 27.5 cm), landscape, river,

French Ambassador, William Dent, active 1784–1793, 1792, Etching with watercolor on laid paper, Sheet: 9 1/4 x 5 5/8in. (23.5 x 14.3cm

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

Natives of La Palma, Alfred Diston, active 1818–1829, 1825, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, Sheet: 8 1/8 × 6 1/8 inches (20.6 × 15.6 cm), Costumes, figure study, man, natives,

The Parable of the Wise and Foolish Virgins, William Blake, 1757–1827, British, ca. 1825, Watercolor with pen and black ink on medium, moderately textured, cream wove paper, Sheet: 16 5/8 x 13 7/8 inches (42.2 x 35.2 cm), angels, clouds,

Drifting, Thomas Alexander Graham, 1840–1906, British, undated, Watercolor over graphite on thick, moderately textured, cream wove paper, Sheet: 10 1/4 x 14 3/16in. (26 x 36cm) and Sheet: 10 1/4 × 14 1/4 inches (26 × 36.2 cm), boat,

Autumn, Richard Corbould, 1757–1831, British, undated, Watercolor, graphite, pen and black ink on medium, smooth, cream wove paper, Sheet: 6 7/8 × 5 1/4 inches (17.5 × 13.3 cm), autumn, field, genre subject, grasses, landscape,

Landscape in Wales with Mountains, Lake, Castle and Two Figures in the Foreground, pupil of John Varley, 1778–1842, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 18 1/4

A River Scene, George Chinnery, 1774–1852, British, undated, Pen and brown ink, watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 8 5/8 inches (17.8 × 21.9 cm), boat, fishing, marine art,

Village at Colna (India), Hubert Cornish, active 1803–1868, undated, Graphite, watercolor, pen and brown ink on slightly textured, medium, white wove paper, Sheet: 12 1/4 × 17 1/2 inches (31.1 × 44.5 cm), boats, landscape, trees,

Banqueting House, Whitehall, Thomas Malton the Younger, 1748–1804, British, undated, Watercolor over etched outline, and graphite; verso: pen and black ink, graphite and gray wash on medium, slightly textured, cream, wove paper, mounted

Five Men Talking, James Bruce, 1730–1794, British, undated, Graphite, gouache and watercolor on medium, slightly textured, beige laid paper, Sheet: 7 3/4 × 9 3/8 inches (19.7 × 23.8 cm

Lake Geneva and Mount Blanc, Joseph Mallord William Turner, 1775–1851, British, 1802 to 1805, Watercolor, pen and black ink, pen and brown ink and scraping out on slightly textured, cream wove paper, Sheet: 28 7/8 x 44 5/8 inches (73.3 x

Songs of Innocence and of Experience, Plate 36, 'The Clod & the Pebble' (Bentley 32), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching with pen and ink and watercolor on moderately thick, slightly

Study of a Soldier Attacking a Woman, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, undated, Watercolor, pen and black ink, gouache, and graphite on medium, moderately textured, cream, laid paper,

Casemates, George Lothian Hall, 1825–1888, British, 1843, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 4 1/8 × 2 7/8 inches (10.5 × 7.3 cm), architectural subject, casemates, figure, horse (animal),

From Window at Daylesford, October 20, 1830, Anne Rushout, ca. 1768–1849, British, 1830, Watercolor, pen and gray ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/4 × 10 inches (17.1 × 25.4 cm

A Cheetah killing an Antelope, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 3/4 × 5 7/8 inches (14.6 × 14.9 cm), animal art

The Amphitheater at Nimes, William Marlow, 1740–1813, British, undated, Watercolor, pen and gray ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 14 x 20 3/8in. (35.6 x 51.8cm), Nîmes

The Choragic Monument of Thrasyllus, Sir Robert Smirke the younger, 1781–1867, British, 1802-1804, Watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 11 7/16 × 8 9/16 inches (29.1 × 21.7 cm

Encombe, September 28, 1831, Anne Rushout, ca. 1768–1849, British, 1831, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/4 × 10 inches (17.1 × 25.4 cm

South East View of Blithfield, Staffordshire; the Seat of the Right Honourable Lord Bagot, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1823, Watercolor and pen and black ink on moderately thick,

Mrs. William Wilberforce and Child, John Linnell, 1792–1882, British, 1824, Watercolor, gouache, and graphite on scored gesso ground on panel, Sheet: 14 x 10 1/4 inches (35.6 x 26 cm), baby, child, children, curls, dress, gaze,

A Diligence, Front View, Samuel Prout, 1783–1852, British, undated, Graphite and watercolor on moderately thick, slightly textured, beige, wove paper, Sheet: 3 3/8 × 4 1/2 inches (8.6 × 11.5 cm), basket, boxes (containers), cargo,

Near Sterzing, Tyrol, Monro School, after John Robert Cozens, 1752–1797, British, ca. 1800, Watercolor, graphite, and gray wash on medium, slightly textured, cream wove paper, Sheet: 9 3/4 x 15 1/8 inches (24.8 x 38.4 cm), buildings,

View of a Garden, Thomas Sandby RA, 1721–1798, British, 1748, Watercolor, graphite and pen and ink on slightly textured, medium, cream laid paper, Sheet: 10 7/16 × 28 inches (26.5 × 71.1 cm), architectural subject

Gebel Sheikh Abu Fodde, 7:30 am, 4 March 1867 (590), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on thick, rough, cream wove paper, Sheet: 3 3/8 × 9 7/8 inches (8.6 × 25.1 cm), boats, cliffs,

Near Broadstairs, William J. Blacklock, 1805–1858, undated, Watercolor and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 5 1/2 × 8 1/2 inches (14 × 21.6 cm), boats, cliffs, clouds, dock, landscape, marine

Vishnu Riding a Palanquin Composed of Female Attendants, unknown artist, undated, Watercolor, graphite, and gouache on medium, slightly textured, cream laid paper, Sheet: 7 5/8 × 10 5/8 inches (19.4 × 27 cm

View of the Rue de Lamitie, Jules Lessore, 1849–1892, French, undated, Watercolor, gouache, graphite, and gum on moderately thick, slightly textured, cream wove paper, Sheet: 9 3/4 x 14 1/2in. (24.8 x 36.8cm) and Sheet: 9 3/4 × 14 1/4

View of the Caves of Syrini - Sorrento/ Bay of Naples, Isaac Weld, 1774–1856, Irish, 1818, Watercolor, gouache, and graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 7 15/16 × 12 9/16 inches (20.2 × 31.9 cm),

Herstmonceux Castle, East Sussex: Plan of the Second Floor, James Lambert of Lewes, 1725–1788, British, undated, Graphite, pen and black ink and watercolor on moderately thick, moderately textured, cream laid paper, Sheet: 25 1/4 x 34

Hound Standing: profile, facing left, Sydenham Teast Edwards, 1768–1819, British, 1795, Graphite and watercolor, Sheet: 6 7/8 x 8 5/8in. (17.5 x 21.9cm) and Frame: 15 3/4 × 17 1/16 × 3/8 inches (40 × 43.4 × 0.9 cm), animal art, dog

Design for an Athenian Villa, Transverse Section, Edward Jones, active 1819–1835, 1834, Watercolor, pen and black ink and graphite on moderately thick, slightly textured, cream wove paper bar scale of 1/8 inch to 1 foot, Sheet: 11 7/8 ×

Young's Night Thoughts, Page 92, 'When faith is virtue, reason makes it so', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Young's Night Thoughts, Page 86, 'His hand the good man fastens on the skies', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

The Old House Packington, Attributed to Hon. Daniel Finch, 1789–1868, British, 1844, Watercolor, pen, brown ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 8 7/8 × 11 5/8 inches (22.5 × 29.5 cm), architectural

Russian Cossacks at a Boathouse on the Banks of the Don, William Heath, 1795–1840, British, 1824, Watercolor and graphite on very thick, slightly textured, beige, cardboard, Sheet: 13 15/16 × 10 15/16 inches (35.4 × 27.8 cm), portrait

Songs of Innocence, Plate 3, 'Introduction' (Bentley 4), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in brown with watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 7 1/2 x 5 3/8

Two Sprays of Imaginary Flowers, Print made by Pierre Charles Canot, ca. 1710–1777, French, active in Britain, after Jean Baptiste Pillement, 1727–1808, French, 1760, Etching with hand coloring in watercolor on medium, slightly

Illustration for R.S. Surtees', 'The Analysis of the Hunting Field': Getting Away: 'Let's Take the Lead', Henry Thomas Alken, 1785–1851, British, undated, Watercolor over etched outline, with gouache, and pen in black ink on medium,

The Poems of Thomas Gray, Design 51, 'The Progress of Poesy.', 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 Chalet in the Mountains, unknown artist, between 1826 and 1866, Watercolor, gouache, over graphite, Sheet: 8 1/8 x 9 11/16in. (20.6 x 24.6cm

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

A House Sparrow, James Sowerby, 1756–1822, British, undated, Watercolor, gouache, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 13 3/8 × 8 1/4 inches (34 × 21 cm), animal art, grass, sparrows

Perspective View of a Fanciful Acropolis Complex, Lewis Vulliamy, 1791–1871, British, undated, Graphite and watercolor on Slightly textured, moderately thick, cream wove paper, Sheet: 8 3/8 × 16 inches (21.3 × 40.6 cm), architectural

Garden Front of Weaver's Hall, 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 1/8 × 7 1/4 inches (13 × 18.4 cm)

Amada, 6:50 am, 12 February 1867 (419), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on moderately thick, rough, cream wove paper, Sheet: 3 5/8 x 6 7/8 inches (9.2 x 17.5 cm), architectural

Matrimonial Fisticuffs, with a Portrait of the Pugilist John Broughton, in the Background, attributed to Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), formerly attributed to Paul Sandby RA, 1731–1809,

Two Men at Fisticuffs, James Gillray, 1757–1815, British, undated, Watercolor with pen and black ink on medium, slighlty textured, cream laid paper, Sheet: 7 1/2 × 7 3/8 inches (19.1 × 18.7 cm), boxing, fence, genre subject, men,

Ponte Pietra, Verona, circle of John Ruskin, 1819–1900, British, undated, Watercolor, graphite and gouache on medium, slightly textured, beige wove paper, Sheet: 5 3/4 x 8 7/8 inches (14.6 x 22.5 cm), arch bridge, architectural subject,

Quarterdeck by Moonlight - When Homeward Bound, I. H. Gascoigne, active 1830s–1840s, 1842, Pen and brown ink and watercolor with scratching out on medium, slightly textured, cream wove paper, Sheet: 9 1/4 × 7 1/2 inches (23.5 × 19.1 cm),

Victorious Hero Takes Occasion to Conclude Peace, Bernard Lens III, 1682–1740, British, after Sir Peter Paul Rubens, 1577–1640, Flemish, 1720, Watercolor and gouache heightened with gold on vellum, Frame: 17 1/4 x 20 1/2 x 1 1/2 inches

The Colosseum, Rome, John Warwick Smith, 1749–1831, British, 1802, Watercolor over graphite on wove paper, Sheet: 20 1/2 x 32 inches (52.1 x 81.3 cm), aqueduct, architectural subject, bushes, clouds, coliseum, people, ruins, trees,

Scene from Don Quixote, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, undated, Watercolor, pen and brown ink, gouache, graphite and varnish on moderately thick, moderately textured, cream, laid paper,

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