Images at Librifly

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The First Book of Urizen, Plate 11 (Bentley 17), 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

Mountainous Landscape with Lake, John Varley, 1778–1842, British, 1840, Watercolor, graphite, white ground and varnish on medium, moderately textured, beige wove paper, Sheet: 8 3/4 x 13 5/8 inches (22.2 x 34.6 cm), banks, buildings,

Naked Hyaena of the Deserts of Nubia, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink and graphite on medium, smooth, white, wove paper, Sheet: 3 7/8 × 6 11/16 inches (9.8 × 17 cm), animal art

Haymakers in a Field, George Robert Lewis, 1782–1871, British, undated, Watercolor and graphite, with scratching out on Thick, slightly textured, cream wove paper, Sheet: 8 x 11 15/16in. (20.3 x 30.3cm) and Sheet: 8 × 11 7/8 inches (20.3

The Ram Head (one of five drawings on one mount), John Thomas Serres, 1759-1825, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/8 x 10 3/8 inches (7.9 x 26.4 cm) and Image: 2 x 9 1/4

The Effect of French Wine and French Spirits at a Revolution Drinking bout, (?) William Dent, active 1784–1793, 1791, Etching with watercolor on laid paper, Sheet: 6 13/16 x 10 11/16in. (17.3 x 27.1cm

The Bornou Race, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, graphite, pen and gray ink and black ink on medium, slightly textured, cream, wove paper, Sheet: 4 1/16 × 6 5/16 inches (10.3 × 16 cm), animal art

Castle Fraser, Aberdeenshire, Scotland: West Elevation, William Wilkins, 1778–1839, British, 1819, Graphite, pen and black and brown ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 13 5/8 × 19 1/2

Man Carrying Bundle on his Back, William Marlow, 1740–1813, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 5 1/2 × 3 inches (14 × 7.6 cm), breeches, knee, bundle, genre subject, man,

Steeplechasing: Two Riders Taking a Wooden Fence, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, moderately textured, blued white, wove paper, Sheet: 10 5/8 × 14 3/4 inches (27 × 37.5 cm), building,

Castle and Figures in a Landscape, Joseph Barber, 1757–1811, British, undated, Watercolor on medium, slightly textured cream wove paper, Sheet: 8 5/8 × 11 inches (21.9 × 27.9 cm), branches, castle, cliffs, figures, landscape

Interior of a Post-House Stable, With Horses Feeding, Charles Cooper Henderson, 1803–1877, British, undated, Watercolor with pen in brown ink, over graphite on medium, moderately textured, cream, wove paper, Sheet: 7 1/16 × 16 13/16

Layer Marney Hall, Essex, Thomas Girtin, 1775–1802, British, ca. 1795, Watercolor with pen and black ink over graphite on medium, slightly textured, beige wove paper, Sheet: 9 5/8 x 11 11/16 inches (24.4 x 29.7 cm), architectural subject,

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, pen, graphite, watercolor and gouache on moderately

Icklesham Church, Imitator of Thomas Girtin, 1775–1802, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 6 1/2 × 8 7/8 inches (16.5 × 22.5 cm), architectural subject, church

Songs of Innocence and of Experience, Plate 24, 'The Divine Image' (Bentley 18), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in green with pen and black ink and watercolor on moderately thick, slightly

Boatman and Medianero of Garachics, Tenerife, Alfred Diston, active 1818–1829, 1828, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, Sheet: 9 1/2 × 7 9/16 inches (24.1 × 19.2 cm), baskets,

A Phaeton and Six, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray and brown ink over graphite on medium, slightly textured, cream wove paper, Sheet: 5 1/8 x 7 9/16 inches (13 x 19.2 cm), carriages, genre

The Waterworks at Marly and St. Germain-en-Laye Seen in the Distance, Thomas Girtin, 1775–1802, British, 1802, Watercolor over soft-ground etching on moderately thick, slightly textured, cream wove paper, Sheet: 5 11/16 x 18 1/8 inches

Rome from Monte Mario, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor and graphite on moderately thick, slightly textured, beige wove paper, mounted on thick, smooth, beige card, Mount: 8 1/4 x 11 3/4 inches (20.9 x

Herstmonceux Castle, East Sussex: The Porter's Lodge, 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

Cassypha semirufa (Ruppell's Robin Chat), Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 inches (40.6 cm) and Sheet: 15 7/8 × 12 inches (40.3 ×

Design for a Ceiling, James Wyatt, 1746–1813, British, undated, Graphite, pen and black ink, and watercolor on moderately thick, moderately textured, cream laid paper, Sheet: 13 5/8 x 18 1/2 inches (34.6 x 47 cm) and Image: 11 x 16 5/8

Design for a Frontispiece: Allegorical Landscape, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Graphite, with red chalk, incised for transfer on medium, moderately textured, beige laid paper

Men-of-War and other Shipping on the Thames (most probably at Deptford), Samuel Atkins, active 1787–1808, British, active in the East Indies (1796–1804), undated, Watercolor and pen and black ink and graphite on medium, slightly textured,

Whampoa and the Canton River, William Westall, 1781–1850, British, 1845, Watercolor, pen and brown ink and graphite on medium, slighlty textured, cream wove paper, Sheet: 8 × 22 1/4 inches (20.3 × 56.5 cm), boats, cottage, landscape,

Songs of Innocence, Plate 2, Title Page (Bentley 3), 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

Music by Moonlight, Paul Sandby RA, 1731–1809, British, 1782 or 1788, Watercolor, graphite, and gouache on medium, slightly textured, cream wove paper, Sheet: 11 3/8 x 13 5/8 inches (28.9 x 34.6 cm), castle, cattle, flute, guitar,

Loading a Wagon, Luke Clennell, 1781–1840, British, 1813, Graphite and watercolor on medium, smooth, blued white, wove paper, Sheet: 13 7/16 × 18 11/16 inches (34.1 × 47.5 cm), dog (animal), figures (representations), genre subject,

View from Ashton Meadows, Bristol, Nicholas Pocock, 1740–1821, British, 1791, Watercolor with pen and black ink; verso: graphite and gray wash on medium, slightly textured, cream laid paper, Sheet: 6 5/8 × 9 7/8 inches (16.8 × 25.1 cm),

Boat Sailing to the Left with Mountains in the Background, John Christian Schetky, 1778–1874, British, 1834, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 10 1/8 × 17 1/4 inches (25.7 × 43.8 cm

Beauties of a Gracious Speech, Or, Nuptial Introduction to John Bull, Or coming York over us., (?) William Dent, active 1784–1793, 1792, Etching with watercolor on laid paper, Sheet: 9 7/8 x 13 9/16in. (25.1 x 34.4cm

Granville, William Parrott, 1813–ca. 1869, British, ca. 1843, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 5 1/2 x 17 7/16in. (14 x 44.3cm) and Sheet: 5 1/2 × 17 3/8 inches (14 × 44.1 cm

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

Landscape with Country House, pupil of Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 x 15 3/4 inches (25.4 x 40 cm), architectural subject, country house,

The Poems of Thomas Gray, Design 27, 'A Long Story.', 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 letterpress

Landscape, With view of coast and Palm trees in the Distance, Henry Swinburne, 1743–1803, British, undated, Watercolor, pen and gray ink, black ink, over graphite on medium, moderately textured, cream, wove paper, mounted on,

Grouse Shooting: The Right Sort, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, with pen, in red ink, and brown ink, over graphite on medium, slightly textured, cream, wove paper, mounted on thick, slightly textured,

Landscape Study of Cattle in a Pool with a Cottage on a Hill, Rev. William Warren Porter, 1776–1804, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, mounted on card, Sheet: 10 7/8 × 13 1/2 inches

Grouse Shooting: The Wrong Sort, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, pen and black ink, brown ink, and graphite on medium, slightly textured, cream, wove paper, mounted on thick, moderately textured, brown,

Beach Scene with Figures by a Breakwater, James Holland, 1799–1870, British, 1861, Watercolor and white gouache and graphite on medium, slightly textured, gray wove paper, Sheet: 4 × 6 3/8 inches (10.2 × 16.2 cm), beach, breakwater,

Landscape with Limekiln, Anthony Vandyke Copley Fielding, 1787–1855, British, 1809, Watercolor, gum, white gouache, and graphite, with scraping on medium, slightly textured, cream wove paper, Sheet: 9 1/8 × 12 3/4 inches (23.2 × 32.4

The First Book of Urizen, Plate 23 (Bentley 9), 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 1/8

Dr Syntax outside the Halfway House, Thomas Rowlandson, 1756–1827, British, 1821, Watercolor and graphite with pen and brown ink and pen and gray ink on medium, slightly textured, cream laid paper, Sheet: 4 1/8 x 6 3/4 inches (10.5 x 17.1

Vessels in a Choppy Sea, Richard Parkes Bonington, 1802–1828, British, ca. 1824, Watercolor with scratching out on medium, cream, slightly textured, wove paper, Sheet: 5 1/2 x 8 3/8 inches (14 x 21.3 cm), clouds, marine art, sea,

Scene in Wales, Samuel Palmer, 1805–1881, British, active in Italy (1837–39), undated, Watercolor and black chalk on medium, slightly textured, beige wove paper, Sheet: 3 3/8 x 7 1/2 inches (8.6 x 19.1 cm), landscape, mountains,

Sunset on the Nile, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on moderately thick, moderately textured, gray wove paper, Sheet: 2 5/16 x 5 15/16 inches (5.9 x 15.1 cm), landscape,

A Bird, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 8 1/8 × 13 inches (20.6 × 33 cm), animal art, bird

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Little Stockartown and Jurdiland, unknown artist, undated, Graphite, watercolor, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 22 5/8 ×

Polecat, Samuel Howitt, 1756–1822, British, ca. 1817, Watercolor, pen and black ink, pen and gray ink, and graphite on wove paper, Sheet: 7 5/8 × 6 1/2 inches (19.4 × 16.5 cm), animal art

The Avon near Bristol, Samuel Jackson, 1794–1869, British, undated, Watercolor and gouache, with scraping and gum on medium, slightly textured, cream wove paper, Sheet: 11 1/4 x 17 1/4 inches (28.5 x 43.8 cm), birds, boats, canal,

View of the Severn, Worcestershire, unknown artist, nineteenth century, formerly John Constable, 1776–1837, British, 1835, Watercolor and graphite on medium, moderately textured, blued white wove paper, Sheet: 5 3/8 x 7 1/8 inches (13.7

A Parrot, James de Carle Sowerby, 1787–1871, British, undated, Watercolor, blue gouache, and graphite on medium, smooth, cream wove paper, Sheet: 8 3/16 × 5 5/8 inches (20.8 × 14.3 cm), animal art, branch, parrot

Boats on the Nile, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured, beige wove paper, Sheet: 3 x 4 3/4 inches (7.6 x 12.1 cm), boats, figures (representations),

Young's Night Thoughts, Page 37, 'Love, and Love Only, Is the Loan for Love', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Winkle Street, Southampton, George Shepheard, ca. 1770–1842, British, 1819, Watercolor, black ink, and graphite on medium, smooth, cream wove paper, Sheet: 8 1/8 × 5 inches (20.6 × 12.7 cm), arch, archway, barrels, cityscape,

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

View of an Iceberg in the Island of Spitzbergen, 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

Dendera, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, cochineal, pen and brown ink on medium, slightly textured, cream, wove paper, mounted on thick, slightly textured, cream wove paper, Sheet: 2 3/4 x 6 13/16 inches

Warships Preparing to Sail from their Anchorage, Dominic Serres RA, 1722–1793, French, active in Britain (from the 1750s), 1782, Watercolor and pen and gray ink with graphite on cream, moderately thick, slightly textured, laid paper,

The First Book of Urizen, Plate 4, 'Muster around the bleak desarts . . . .' (Bentley 4), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in green with watercolor on moderately thick, slightly textured,

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 El Azerat, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on thick, moderately textured, cream wove paper, Sheet: 2 7/16 x 6 15/16 inches (6.2 x 17.6 cm), boat, landscape, river, river, riverbank,

View of Shershah's Tomb at Sasaram in Bihar, Samuel Davis, 1757–1819, British, ca. 1779, Watercolor, with pen, in brown ink, gray wash, and graphite on medium, moderately textured, cream, laid paper, mounted on, thick, moderately

Falls on the River Conwy, North Wales, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown ink and gray-blue ink, over graphite on moderately thick, slightly textured, beige, wove paper, Sheet: 7 11/16 x 11 5/16

View of a House, James Miller, active 1773–1814, undated, Watercolor, graphite, pen and black ink on medium, moderately thick, blued white, laid paper, Sheet: 6 7/16 × 7 13/16 inches (16.4 × 19.8 cm) and Mount: 9 1/2 × 10 13/16 inches

The Dog and the Wolf, Samuel Howitt, 1756–1822, British, undated, Watercolor and pen and brown ink over graphite on medium, slightly textured, cream wove paper, Sheet: 5 × 7 1/4 inches (12.7 × 18.4 cm), animal art, dog (animal),

Design for a Frontispiece: Shepherds with Flock, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Pen in black ink, over graphite, squared in red chalk, incised for transfer on medium, slightly

Men-of-War and Sailing Boats Near a Shore, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red brown and gray ink over graphite on cream, moderately thick, slightly textured, wove paper, glued to mat, Sheet: 8 1/16

Sunset over a River Landscape, Francis Danby, 1793–1861, Irish, early 1840s, Watercolor with gouache over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 12 5/16 x 17 9/16 inches (31.2 x 44.6 cm), birds, cattle,

A Farmhouse, William Henry Hunt, 1790–1864, British, ca. 1817, Watercolor and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 11 3/4 x 15 5/8 inches (29.8 x 39.7 cm), architectural subject, dog (animal), farm,

Island of St. Pauls, Henry William Parish, active 1792, 1793, Watercolor on medium, slightly textured, cream laid paper, Sheet: 3 11/16 × 9 inches (9.4 × 22.8 cm

Bachelor's Hall, Robert Dighton, 1752–1814, British, undated, Watercolor, gouache, pen, brown ink, and black ink on medium, slightly textured, cream wove paper, Sheet: 13 5/8 x 9 7/8 inches (34.6 x 25.1 cm), bachelors, dinner,

Memorial to Mrs. Mary Green, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 15 × 10 3/4 inches (38.1

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), channel (water body

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

Design for Grosvenor House, London: Chamber Floor Plan, Thomas Cundy, 1790–1867, British, 1827, Graphite, pen and black ink and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 18 5/8 × 24 inches (47.3 × 61

Henry Cranmer March Phillipps, John Hollins, 1798–1855, British, 1829, Watercolor and gouache over graphite on slightly textured, moderately thick, cream wove paper, Sheet: 22 3/16 × 15 1/4 inches (56.4 × 38.7 cm), portrait

From the Isola Borromena, Lago Maggiore, Joseph Mallord William Turner, 1775–1851, British, ca. 1795, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 5 7/8 x 9 inches (14.9 x 22.9 cm), boats, Grand Tour,

Strange Faces, Frederick Walker, 1840–1875, British, 1862 to 1863, Gouache, watercolor, and gum arabic on slightly textured, cream wove paper with white ground, Sheet: 25 7/8 × 31 1/4 inches (65.7 × 79.4 cm) and Frame: 36 x 43 x 2 1/4

Design for St. David, Pantasaph, Flintshire. East Elevation, Thomas Henry Wyatt, 1807–1880, British, undated, Graphite, pen and brown ink, watercolor on slightly textured, moderately thick, brown wove paper, Sheet: 6 9/16 × 5 3/8

At Steyning - Sussex, John Inigo Richards RA, 1730/31?–1810, British, 1795, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 5 7/8 × 9 1/8 inches (14.9 × 23.2 cm), cart, cityscape,

A Woodcutter and Other Studies, Robert Hills, 1769–1844, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 11 3/4 x 7 5/8 inches (29.8 x 19.4 cm), axe, basket, figure study,

Chamber Plan with West and North Elevations of Thunderdell Lodge, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink, watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 19 7/8

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 on moderately thick,

Going to Cover, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink, and gray ink on medium, slightly textured, beige, laid paper, mounted on, moderately thick, moderately textured, beige, laid paper, Mount: 9

A French Market Place, David Cox, 1783–1859, British, 1829, Watercolor and graphite on medium, smooth, white wove paper, Sheet: 9 3/4 x 12 3/8 inches (24.8 x 31.4 cm), barrow, church, cityscape, French, market (building), France

Ruins of a Temple, Sunset, George Chinnery, 1774–1852, British, undated, Watercolor, gouache, brown ink and graphite on medium, slightly textured, cream laid paper, Sheet: 5 × 7 7/8 inches (12.7 × 20 cm), architectural subject,

Dendera, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, wove paper, mounted on moderately thick, moderately textured, cream wove paper, Sheet: 2 15/16 x 6 5/8 inches (7.5 x

Unidentified Fish, James Bruce, 1730–1794, British, undated, Watercolor, gouache, and graphite on medium, slighly textured, cream laid paper, Sheet: 12 × 16 inches (30.5 × 40.6 cm), animal art

Along the Shore, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor and gouache on moderately thick, moderately textured, beige laid paper mounted on beige card, Sheet: 4 1/2 x 3 3/4 inches (11.4 x 9.5 cm), beach,

The Seine at St. Cloud, William Callow, 1812–1908, British, active in France, undated, Watercolor on medium, slightly textured, blued white wove paper, Sheet: 4 × 9 5/8 inches (10.2 × 24.4 cm), bridge (built work), landscape, river,

Landscape with Trees and Windmill, Thomas Sully, 1783–1872, American, undated, Watercolor on medium, moderately textured, beige, wove paper, Sheet: 2 5/8 × 4 1/4 inches (6.7 × 10.8 cm

Job's Despair, circle of John Linnell, 1792–1882, British, after William Blake, 1757–1827, British, undated, Watercolor and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 3 3/4 x 4 3/4 inches (9.5 x 12.1

Gebel Sheikh Eredi, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on thick, rough, cream wove paper, Sheet: 3 7/16 x 4 15/16 inches (8.7 x 12.5 cm), cliffs, figures (representations), landscape, river,

Design for Grosvenor House, London, Thomas Cundy, 1790–1867, British, 1827, Graphite, pen and black ink and watercolor on slightly textured, moderately thick, grey wove paper, Sheet: 8 5/16 × 11 3/4 inches (21.1 × 29.8 cm),

Lear and Cordelia, Mary Hoare, 1753–1820, British, ca. 1781, Watercolor with black ink and scraping over graphite on thick, slightly textured, cream laid paper mounted on moderately thick, slightly textured, cream laid paper, Mount: 22

A Panoramic View toward St. Peter's from the Palace of the Caesars, Carlo Labruzzi, 1748–1817, Italian, undated, Graphite, watercolor, and gray wash on medium, slightly textured, cream laid paper, Sheet: 11 1/2 × 18 1/4 inches (29.2 ×

Julian Hayter, the Artist's Daughter, John Hayter, 1800–1895, British, 1836, Watercolor and graphite on moderately thick, slightly textured, cream wove paper mounted on moderately thick, slightly textured, cream wove paper, Sheet: 9 ×

Windsor Great Park from the Castle Terrace, Benjamin West, 1738–1820, American, active in Britain (from 1763), undated, Watercolor, pen in brown ink, and graphite, verso: graphite on medium, moderately textured, cream laid paper,

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