Images at Librifly

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After Pinnelli - Group of Peasants Outside a Church, Isaac Weld, 1774–1856, Irish, 1817, Watercolor, with pen and brown ink, brown wash, over graphite on medium, slightly textured, cream, wove paper, Sheet: 9 × 11 3/4 inches (22.9 ×

Duvaucel's Squirrel, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 4 3/16 × 6 5/8 inches (10.6 × 16.8 cm), animal art,

Young Woodcutter, Joshua Cristall, 1768–1847, British, 1818, Watercolor with scraping over graphite on moderately thick, slightly textured, beige wove paper, laid on thick, slightly textured, beige card, Mount: 15 3/8 x 14 3/16 inches

Four O'Clock in the Country, Thomas Rowlandson, 1756–1827, British, between 1788 and 1790, Watercolor, pen and black ink, gray ink and graphite on medium, slightly textured, cream wove paper, Mount: 12 7/8 x 15 3/4 inches (32.7 x 40 cm),

The Poems of Thomas Gray, Design 55, 'The Bard.', William Blake, 1757–1827, British, between 1797 and 1798, Watercolor with pen and black ink, graphite and gouache on moderately thick, slightly textured, cream wove paper with inlaid

Portrait of Lady Marjorie Jenkins, John Downman, 1750–1824, British, 1798, Black chalk with watercolor and stumping on moderately thick, moderately textured, beige laid paper, Sheet: 11 x 8 1/2 inches (28 x 21.6 cm), curls, gown,

Two Jeyties Wrestling, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, 1792, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 5 1/4 × 9 inches (13.3 × 22.9 cm

Young's Night Thoughts, Page 31, ''Tis greatly wise to talk with our past hours', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Officers and Their Ladies Dancing to a Band of Musicians..., unknown artist, late eighteenth early nineteenth century, undated, Watercolor, pen and black ink, gray ink, and graphite on thick, moderately textured, blued white, wove paper,

Opposite Beni Hassan, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on moderately thick, slightly textured, gray wove paper, Sheet: 5 15/16 x 9 13/16 inches (15.1 x 24.9 cm), clay,

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

Blackfriars Bridge and St. Paul's, Francis Nicholson, 1753–1844, British, Formerly attributed to Thomas Malton, 1726–1801, British, ca. 1790, Watercolor with pen and brown ink over graphite, sheet edged with pen and brown ink border on

Sandsend, Yorkshire, Thomas Girtin, 1775–1802, British, 1802, Watercolor over graphite on moderately textured, laid paper, mounted on very thick, cartridge paper, Sheet: 12 1/2 x 20 7/8 inches (31.8 x 53 cm), bridge (built work),

Studies of Camels, Edward Lear, 1812–1888, British, January to April 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 7 x 4 9/16 inches (17.8 x 11.6 cm), animal art, camels (mammals),

Portrait of a Boy, George Dance RA, 1741–1825, British, August 3, 1793, Graphite and watercolor on medium, slightly textured, cream wove paper, Sheet: 9 5/8 x 7 1/2 inches (24.4 x 19.1 cm), boy, portrait, seated, youth

Lilleshall, Shropshire: Attic Story, Sir Jeffry Wyatville, 1766–1840, British, 1826, Graphite, pen and black ink, gray wash, watercolor on slightly textured, medium, white wove paper bar scale of 1/12 inch to 1 foot, Sheet: 12 7/8 × 19

Memorial to Mrs. Anne Lowfield and Mrs. Anne Bolney from Chelsea Church, 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

View at Lucerne: The Jesuits College, Samuel Davis, 1757–1819, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 16 7/8 × 23 1/16 inches (42.9 × 58.6 cm) and Image: 13 5/16 ×

Lion's Inn, 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 Mount: 9 × 12 1/2 inches

The Houses of Parliament, Thomas Hosmer Shepherd, 1792–1864, British, undated, Watercolor, brown ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 4 13/16 × 7 5/8 inches (12.2 × 19.4 cm), architectural subject,

The Arrival of a Hoy at Margate, Philippe-Jacques de Loutherbourg, 1740–1812, French, active in Britain (from 1771), undated, Watercolor, graphite and pen brown ink on medium, slightly textured, cream wove paper, Sheet: 11 3/8 × 19

Memorial to a Poet, Richard Tickell from Hampton 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 1/4 × 11 1/8

Pony and Hooded Gig, Paul Sandby RA, 1731–1809, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, mounted on moderately thick, slightly textured, cream wove paper, Sheet: 2 1/2 × 4 3/4 inches (6.4

Cave of the Golden Calf: Worshippers and Calf, Spencer Frederick Gore, 1878–1914, British, 1912, Graphite and watercolor on medium, slightly textured, beige wove paper, Sheet: 12 x 10 3/4 inches (30.5 x 27.3 cm), animal art, animals,

Lady Rowe, Standing Small Full Length on a Terrace, a Moonlit Jamaican Landscape beyond, Isaac Mendes Belisario, 1795–1849, 1835, Watercolor and gouache on medium, slightly textured, cream wove paper, mounted on heavy cream card, Sheet:

The Vicar of Wakefield: The Scold, with news of Olivia, Thomas Rowlandson, 1756–1827, British, ca. 1817, Watercolor, with pen and gray ink over graphite on medium, smooth, blued white wove paper, Sheet: 4 1/2 x 7 1/2 inches (11.4 x 19.1

Alderley Rectory, June 20th, Maria Leycester, 1798–1870, 1820, Graphite, brown wash, and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/8 × 9 3/8 inches (16.2 × 23.8 cm) and Binding: 6 1/2 inches (16.5

View near Bristol, Edward Francis Burney, 1760–1848, British, undated, Watercolor and pen and black ink on medium, moderately textured, cream laid paper, Sheet: 6 × 7 1/4 inches (15.2 × 18.4 cm), bay (body of water), figures

Landscape with a Castle on a Hill, James Ward, 1769–1859, British, undated, Watercolor and graphite on medium, moderately textured, cream laid paper, Sheet: 7 3/8 x 8 5/8 inches (18.7 cm), castle, hill, landscape, sky

Matlock High Tor, Derbyshire, John Emes, 1762–1810, British, ca. 1786, Watercolor, pen and black ink, brown ink, gouache, and graphite on medium, slightly textured, cream, wove paper, Sheet: 14 9/16 × 12 1/2 inches (37 × 31.8 cm),

Senecio gigas Vatke (Tree Groundsel): finished drawing of budding shoot, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 x 12 5/16in. (40.5 x

I am not learned in Vaccine Matters - but I think those look like Charley's Calves, Hablot Knight Browne, 1815–1882, British, Undated, Black chalk and watercolor on moderately thick, moderately textured, gray laid paper, Sheet: 21 1/2 x 28

Thames Ditton, Surrey: Design for Gothic Church, Sir Robert Taylor, 1714–1788, British, ca. 1776, Graphite, pen and black ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 11 7/8 x 15 7/8 inches (30.2 x 40.3 cm),

The Meeting of the Rivers Severn and Wye, near Chepstow, Edward Dayes, 1763–1804, British, 1795, Watercolor over graphite on thick, slightly textured, beige wove paper, Sheet: 12 3/4 x 16 13/16in. (32.4 x 42.7cm), cattle, cows, fields,

The Farmyard, John Linnell, 1792–1882, British, 1812, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 4 x 5 7/8 inches (10.2 x 14.9 cm), barn, carts, farm, farmer, farmyard, fences, genre

Lodge at Wanstead Grove, October 2, 1828, Anne Rushout, ca. 1768–1849, British, 1828, Watercolor, graphite, and pen and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 10 inches (17.8 × 25.4 cm),

Near Mesghouneh, 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 5/16 x 12 3/16

London Cries: Fun upon Fun, Paul Sandby RA, 1731–1809, British, 1759, Watercolor, pen and black ink, and graphite on medium, cream, slightly textured laid paper, Sheet: 7 1/8 x 5 7/8 inches (18.1 x 14.9 cm), children, cries, genre

View of Lake Coniston, Lancashire, Francis Towne, 1740–1816, British, 1786, Watercolor and pen and brown ink on medium, slightly textured, cream laid paper, Mount: 12 3/4 × 24 7/8 inches (32.4 × 63.2 cm), Contemporary drawn border: 8

A. Marlow Lock; B. Figures on a Barge, Possibly a Sketch Relating to This Drawing of Marlow Lock, William Alexander, 1767–1816, British, undated, Watercolor and graphite on medium, smooth, cream wove paper, Mount: 4 3/4 × 7 1/2 inches

Below Rabat, Malta, Edward Lear, 1812–1888, British, 1866, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, mounted on moderately thick, slightly textured, brown wove paper., Mount: 5 1/2 x 6 5/8

In the Camp Vaccinio at Rome, John Warwick Smith, 1749–1831, British, ca. 1777, Watercolor and gouache over graphite on medium, rough, cream laid paper, Sheet: 15 1/8 x 23 13/16 inches (38.4 x 60.5 cm), arches, architectural subject,

Amelia 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), Sheet: 3 5/8 x 2 7/8in. (9.2 x 7.3cm), and Image: 3 5/8 x 2 7/8 inches (9.2 x 7.3 cm),

Bergen op Zoom, David Cox, 1783–1859, British, 1826, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 2 5/8 x 6 7/8 inches (6.7 x 17.5 cm), boats, marine art, sails, Europe, Netherlands, Oosterschelde

Turk Lake looking Across the River and Brikeen Island (Ireland), Isaac Weld, 1774–1856, Irish, between 1800 and 1807, Graphite and watercolor on thick, moderately textured, cream, wove paper, Sheet: 9 5/16 × 13 1/4 inches (23.7 × 33.7

Catherine Lamb, Francois Theodore Rochard, 1798–1858, French, undated, Watercolor, graphite, and gouache on moderately thick, smooth, cream wove paper, Sheet: 10 3/4 × 8 7/8 inches (27.3 × 22.5 cm), costume, eyes, girl, gown,

Llama, Samuel Howitt, 1756–1822, British, undated, Watercolor, graphite and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 7 3/4 × 5 1/2 inches (19.7 × 14 cm), animal art, llamas

Shakespeare Cliff, Dover, Samuel Atkins, active 1787–1808, British, active in the East Indies (1796–1804), ca. 1800, Watercolor, pen and black ink, and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 11 3/8

Dr Syntax Meditating on the Tombstones, Thomas Rowlandson, 1756–1827, British, 1820, Watercolor and graphite with pen and red ink on medium, slightly textured, cream wove paper, Sheet: 4 7/16 x 7 7/16 inches (11.3 x 18.9 cm), children,

The Poems of Thomas Gray, Design 3, 'Ode on the Spring.', 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 Coastal Fort, Samuel Davis, 1757–1819, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 17 5/8 × 23 5/8 inches (44.8 × 60 cm), architectural subject

Girl Playing with Coal, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on medium, slightly textured, cream wove paper mounted on moderately thick,

Long Library at Blenheim Palace, attributed to David Cox, 1783–1859, British, David Cox, 1783–1859, British, mid-19th century, Watercolor, gouache, and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 10 1/4

The Ramesseum at Thebes, John Frederick Lewis, 1804–1876, British, between 1841 and 1851, Watercolor, white gouache, black chalk and graphite with scratching out on medium, slightly textured, beige wove paper, Sheet: 13 3/4 × 20 1/8

Taormina, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor, gouache, black chalk and graphite on moderately thick, moderately textured, beige wove paper, Sheet: 8 1/4 x 10 1/2 inches (20.9 x 26.7 cm), architectural

Venice from the Lagoon, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor and graphite on medium, medium texture, gray, wove paper, Sheet: 6 x 9 inches (15.2 x 22.9 cm), boats, cityscape, lagoon, landscape, Italia,

H. Grant on Horseback, Possibly Henry Thomas Alken, 1785–1851, British, undated, Watercolor, pen, in brown ink, black ink, graphite, and gouache on very thick, slightly textured, cream, wove paper, Sheet: 9 7/16 × 12 3/8 inches (24

Iceberg in Baffin's Bay, 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

Beni Eddeir, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, gouache, pen and brown ink on moderately thick, moderately textured, cream wove paper, Sheet: 1 15/16 x 8 1/4 inches (4.9 x 21 cm), boats, figures

The Thames, Early Morning, Towards St. Paul's, John William Inchbold, 1830–1888, British, ca. 1849, Watercolor and graphite, with scraping on medium, moderately textured, cream wove paper, Sheet: 10 1/8 × 14 1/4 inches (25.7 × 36.2

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Culraven and Broadfield, unknown artist, undated, Graphite, watercolor, gray wash, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 19 7/8

Richmond, William Henry Bartlett, 1809–1854, British, undated, Pen and black ink and watercolor and gouache on medium, slightly textured, cream wove paper, Sheet: 3 7/8 × 6 1/2 inches (9.8 × 16.5 cm), boats, landscape, marine art,

Sliema, Edward Lear, 1812–1888, British, 1866, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, mounted on moderately thick, slightly textured, brown wove paper, mounted on very thick, moderately

Memorial to John Mist and his wife Elizabeth from Hillingdon 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: 14 7/8 ×

Mr. W. Praed's tin washing mill in Cornwall, Trevethow, George Cumberland, 1754–1848, British, undated, Watercolor with pen and brown ink over graphite on moderately thick, moderately textured, cream wove paper, Sheet: 5 5/8 × 9 inches

South End, September 25, 1832, Anne Rushout, ca. 1768–1849, British, 1832, Watercolor, pen and black ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/4 × 20 inches (17.1 × 50.8 cm

Portrait of a Girl, Richard Dadd, 1817–1886, British, 1838, Watercolor with gouache over graphite on moderately thick, smooth, gray wove paper, Sheet: 7 5/8 × 5 5/8 inches (19.4 × 14.3 cm), chair, child, dress, figure study, genre

Harvest Time, Peter DeWint, 1784–1849, British, undated, Watercolor on thick, cream, rough wove paper, Sheet: 7 x 20 5/8 inches (17.8 x 52.4 cm), carts, harvest, hay, horses (animals), landscape, roads, wagons

Shopping in the Rows, Chester, Sir David Wilkie, 1785–1841, British, 1837, Watercolor with brown wash and brown ink over graphite on medium, slightly textured, cream wove paper, mounted on thick, slightly textured, beige card, Mount: 7

Landscape, Thomas Hearne, 1744–1817, British, undated, Watercolor and gray wash over graphite on moderately thick, moderately textured, beige wove paper, Contemporary drawn border: 13 1/4 x 18 3/4 inches (33.7 x 47.6 cm) and Sheet: 7 5/8 x

Views in the Levant: Place of Worship with Three Bell Towers with Crosses, Workshop of Willey Reveley, 1760–1799, British, ca. 1785, Watercolor, and pen and black ink on medium, moderately textured, cream, laid paper, mounted on

Corsica, Joseph Mallord William Turner, 1775–1851, British, between 1830 and 1835, Watercolor and scratching out on medium, slightly textured, beige wove paper, Sheet: 5 1/2 x 7 3/8 inches (14 x 18.7 cm), city, cliffs, clouds, Grand

Kirkstall Abbey from the N.W., Thomas Girtin, 1775–1802, British, after Edward Dayes, 1763–1804, British, ca. 1792, Watercolor, pen and black ink, pen and brown ink and graphite on medium, slightly textured, beige wove paper, mounted

Landscape with River and Figures, James Adam, 1730–1794, Scottish, undated, Watercolor, pen and brown ink on thick, rough, cream laid paper, Sheet: 12 × 16 inches (30.5 × 40.6 cm), cliffs, figures, landscape, path, river, trees

Figures by a Ruined Arch, William Payne, active 1850s, British, undated, Watercolor on medium, moderately textured, cream wove paper, Sheet: 6 1/4 × 9 15/16 inches (15.9 × 25.2 cm), arch, landscape, people, ruins, tower (building

View of Winchelsea, Sussex, Thomas Girtin, 1775–1802, British, ca. 1795, Watercolor and graphite on medium, slightly textured, beige wove paper, Sheet: 7 7/8 x 10 1/8 inches (20 x 25.7 cm), architectural subject, chimney, fence,

Burnett Inlet, Barrow Strait, 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

A Large Tree in a Summer Landscape, a Horse Standing at the Base, Lionel Constable, 1828–1887, British, Formerly attributed to John Constable, 1776–1837, British, undated, Watercolor, white gouache, and pen and black ink on medium,

Musa x sapientum L. (Banana): finished drawing with details of inflorescence, James Bruce, 1730–1794, British, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 20 1/2 × 14 1/2 inches

Songs of Innocence and of Experience, Plate 37, 'Nurses Song' (Bentley 38), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching with pen and ink and watercolor on moderately thick, slightly textured, cream

A High Caste Woman Standing by a Wall, William Daniell, 1769–1837, British, ca. 1829, Watercolor with black ink and gouache over graphite on medium, slightly textured, cream wove paper, Contemporary drawn border: 5 7/8 x 4 1/4 inches (14.9

View of the Cascine Near Florence, Henry Swinburne, 1743–1803, British, 1787, Watercolor, with pen and black ink, gray ink, gray wash and graphite on medium, moderately textured, cream, laid paper, mounted on, moderately thick,

A Waggoner, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 4 3/4 x 6 15/16 inches (12.1 x 17.6 cm) and Mount: 9 5/16 x 9 1/2 inches (23.7

Cottage in a Landscape, Thomas Stowers, 1754–active 1814, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Sheet: 9 7/8 × 14 3/8 inches (25.1 × 36.5 cm), architectural subject

Design for Grosvenor House, London: Plan, Thomas Cundy, 1790–1867, British, 1827, Graphite, pen and black ink and watercolor on slightly textured, moderately thick, cream wove paper with five fold marks, Sheet: 12 13/16 × 11 5/8 inches

Gebelein, Edward Lear, 1812–1888, British, 1854, Watercolor, graphite, pen and brown ink and red ink on moderately thick, rough, brown wove paper, Sheet: 2 5/8 x 6 1/8 inches (6.7 x 15.6 cm), boat, landscape, mountains, river, river,

Castel Sant' Angelo, Sir Robert Smirke the younger, 1781–1867, British, 1802-1804, Watercolor, graphite, pen and gray ink on moderately thick, moderately textured, beige, wove paper, Sheet: 13 × 16 3/4 inches (33 × 42.5 cm

Westminster from Lambeth, David Cox, 1783–1859, British, ca. 1813, Watercolor on medium, moderately textured, cream wove paper, Sheet: 5 5/8 x 11 1/4 inches (14.3 x 28.6 cm), churches, cityscape, leisure, people, river, silhouette,

Marengo, Bonaparte's Arab, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor with pen and black ink, over graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 × 6 1/8 inches (10.2 × 15.6 cm), animal art

Leather Fullers Hall, 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 1/4 × 7 3/8 inches (13.3 × 18.7 cm) and Mount: 9 ×

Kelso Abbey, Rosburghshire, Edward Dayes, 1763–1804, British, ca. 1792, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 6 1/2 × 8 1/2 inches (16.5 × 21.6 cm), abbey, architectural subject, coast, river,

Scene in a Monastery, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, with pen and brown and gray ink over graphite on medium, slightly textured, beige, wove paper, Sheet: 5 1/4 x 7 1/2 inches (13.3 x 19.1 cm), corridor,

Sketch for a Picture of the Peshwa's Saddle, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 9 1/2 × 10 3/4 inches (24.1 × 27.3 cm

Diana, Goddess of the Hunt, with Satyrs, sleeping Cupid and a Pegasus in a Wooded Landscape, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, undated, Watercolor, pen and red ink, gouache, and graphite on

Officer's Quarters and Casemate Barracks, Gibraltar, George Lothian Hall, 1825–1888, British, 1843, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 7 3/16 × 10 1/4 inches (18.3 × 26 cm), animals,

Charging an Ox Fence, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, gouache and graphite on medium, slighlty textured, cream wove paper, Sheet: 8 1/4 × 11 3/8 inches (21 × 28.9 cm), equestrians, fences, galloping,

Officer in a Red Uniform, unknown artist, ca. 1780, Watercolor on ivory, Image: 1 5/8 x 1 1/4 inches (4.1 x 3.2 cm) and Frame: 2 3/4 x 1 5/8 x 1/8 inches (7 x 4.1 x 0.3 cm), portrait

Piazza Salone, Padua, George Franklin, active 1825–1845, British, 1836, Watercolor, pen and brown ink and graphite on medium, slightly textured, cream wove paper, Sheet: 7 3/4 × 11 5/8 inches (19.7 × 29.5 cm), cityscape, crowd, Grand

The Race, unknown artist, ca. 1850, Watercolor, graphite, and gouache on medium, slightly textured, gray/green, wove paper, Mount: 5 1/16 × 14 inches (12.9 × 35.6 cm) and Sheet: 4 15/16 × 13 13/16 inches (12.5 × 35.1 cm), horse racing,

Mount Siabod from Tyn-y-Coed near Capel Curig, Samuel Palmer, 1805–1881, British, active in Italy (1837–39), undated, Gouache, watercolor, and graphite with pen and brown ink on medium, slightly textured, brown wove paper, Sheet: 14

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