Images at Librifly

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Shipping in a Choppy Sea, Follower of William Owen, 1769–1825, British, Previously Samuel Owen, 1768–1857, British, undated, Watercolor and graphite with scratching out on medium, slightly textured, cream laid paper, Sheet: 7 1/2 x 10

Crichton Castle (Mountainous Landscape with a Rainbow), Joseph Mallord William Turner, 1775–1851, British, ca. 1818, Watercolor and graphite on medium, slightly textured, cream wove paper, mounted on thick, slightly textured cream wove

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 First Book of Urizen, Plate 16 (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: 11 7/8 x

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, undated, Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 17 5/16 × 13 1/2 inches (44 × 34.3 cm),

Songs of Innocence and of Experience, Plate 26, 'Laughing Song' (Bentley 15), 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,

Character Studies: A Child, A Man in a Hat, Military Officer, Daniel Orme, 1766–1837, British, undated, Watercolor on medium, slightly textured, cream wove paper, Sheet: 5 1/4 × 9 3/8 inches (13.3 × 23.8 cm), cavalry, child, coats,

The Old Bridge, Peter DeWint, 1784–1849, British, undated, Watercolor and gouache over graphite on medium, moderately textured, cream wove paper, Sheet: 11 3/8 x 9 5/8 inches (28.9 x 24.4 cm), architectural subject, bridge (built work),

The Moselle Bridge, Coblenz, Joseph Mallord William Turner, 1775–1851, British, ca. 1842, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 19 1/8 x 24 1/4in. (48.6 x 61.6cm), boats, bridge (built work),

Archer on Horseback, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor, graphite, and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 5 1/4 × 5 1/8 inches (13.3 × 13 cm

The Poems of Thomas Gray, Design 77, 'The Descent of Odin.', 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 Three-fingered Sloth, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 7/8 × 9 1/2 inches (30.2 × 24.1 cm), animal art, Mammalia (class),

A View of Rome Taken from the Pincio, William Pars, 1742–1782, British, 1776, Watercolor, pen and gray ink, graphite and black crayon on moderately thick, moderately texured, blued white laid paper mounted on thick, moderately textured,

Boschbeek & Groenendaal: View from Turret towards Haarlem and Zaandam, Gerrit Jan Schouten, Born 1815, Dutch, undated, Watercolor on textured, moderately thick, cream wove paper, Sheet: 10 1/8 × 14 3/8 inches (25.7 × 36.5 cm

Little Bushey, Hertfordshire, Henry Edridge, 1769–1821, British, undated, Watercolor and graphite on moderately thick, rough, beige wove paper, Sheet: 11 1/8 × 16 5/8 inches (28.3 × 42.2 cm), cattle, hills, landscape, stream, trees,

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, Pen, black ink, graphite, watercolor and gouache on moderately

The Book of Thel, Plate 7, 'But he that loves the lowly . . . .', Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in brown with pen and ink and watercolor on moderately thick, slightly textured, cream wove

Monument: Peace seated upon an urn, a man with drawn sword standing on the base of the monument, John Devoto, active 1708–1752, British, undated, Watercolor, graphite and pen and brown ink on medium, slightly textured, cream laid paper,

Fire on the Thames, George Jones, 1786–1869, British, ca. 1808, Watercolor, gouache, and graphite on medium, slightly textured, blue wove paper, Sheet: 9 1/4 × 14 5/8 inches (23.5 × 37.1 cm), boats, burning, fire, river, England,

The Sailor's Departure, Nicholas Pocock, 1740–1821, British, ca. 1795, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 15 1/2 × 22 1/4 inches (39.4 × 56.5 cm) and Mount: 17 1/4 × 23 5/8 inches (43.8 × 60

The Footbridge, Thomas Shotter Boys, 1803–1874, British, undated, Watercolor, gum arabic, and scratching out on medium, slightly textured, cream wove paper, mounted on thick, moderately textured, cream wove paper, Sheet: 2 7/8 × 4 5/8

Tomb of Nathaniel Wickham, from West Ham Churchyard, 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

A Market Scene in Venice, Charles Bentley, 1806–1854, British, undated, Watercolor, pen and brown ink, and scraping on moderately thick, slightly textured, cream wove paper, Sheet: 7 1/2 × 10 1/4 inches (19.1 × 26 cm), Venice

Halo with Three Parhelia, Winter Harbour Melville Island, Charles Hamilton Smith, 1776–1859, Belgian, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 12 7/8 × 16 1/8 inches (32.7 × 41

Goodrich Castle on the Wye, Thomas Hearne, 1744–1817, British, ca. 1785, Watercolor, pen and black ink, gouache, and graphite on moderately thick, slightly textured, cream wove paper, Contemporary drawn border: 11 × 14 1/2 inches (27.9

Design for Love's Labour's Lost, Thomas Grieve, 1799–1882, British, 1839, Watercolor, white gouache, graphite, pen and black ink, pen and brown ink, and collage on three layerd sheets of moderately thick, slightly textured, cream wove

Stourhead, Wiltshire, after Francis Nicholson, 1753–1844, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 15 1/2 x 22 1/2in. (39.4 x 57.1cm

Dovecote at Streatley, George Price Boyce, 1826–1897, British, 1863, Watercolor and gouache on moderately thick, moderately textured, beige wove paper mounted to card, Sheet: 11 × 8 1/2 inches (27.9 × 21.6 cm), architectural subject,

Study of a camel's head, Sawrey Gilpin, 1733–1807, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 7 × 5 1/4 inches (17.8 × 13.3 cm), animal art, camel (mammal), head, wash

Memorial to William Clarkson and Anna Maria Powell, 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: 14

A Young Woman in a Blue Striped Dress, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite on medium, slightly textured, blued white laid paper, Sheet: 7 5/8 x 5 inches (19.4 x 12.7 cm), blue, bonnet, dress, figure

Hilly Landscape with Village and River, Jonathan Fisher, ca. 1760–1809, Irish, undated, Watercolor, pen and black ink, gum arabic, and graphite on medium, moderately textured, cream laid paper, mounted on thick, moderately textured,

Dendera, 15 January 1867 (155), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 3 1/8 × 10 1/8 inches (7.9 × 25.7 cm), architectural

William Molyneaux, second Earl of Sefton: on a Box Seat, Holding Reins and Whip, Robert Dighton, 1752–1814, British, between 1801 and 1802, Watercolor, graphite, and pen and black ink on medium, slightly textured, blued white, wove

Man and Children with a Street Organ and a Monkey, Thomas Heaphy, 1775–1835, British, undated, Watercolor, with pen in gray ink, gouache, and graphite on medium, slightly textured, cream, wove paper, Sheet: 14 9/16 × 12 3/4 inches (37

Couple Dancing, Nathaniel Dance RA, 1735–1811, British, undated, Watercolor and graphite on medium, slighlty textured, cream wove paper, Sheet: 8 1/2 × 6 inches (21.6 × 15.2 cm), couple, dancing, genre subject, man, woman

Entrance to Stonehouse Creek, between Plymouth and Dock, Devon, William Payne, active 1850s, British, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 10 1/2 x 14 3/8in. (26.7 x

Memorial of Thomas Fitch, Mrs. Martha Fitch, Mrs. Martha Webb, Mrs. Judith Hawkes and Katherine Webb from Teddington Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite

Memorial to Lucy Smith and Anne Wilton 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 wove paper,

Soldiers in St. James Park, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, graphite, pen and brown ink, and pen and gray ink on medium, moderately textured, beige wove paper, Sheet: 5 x 7 1/4 inches (12.7 x 18.4 cm) and

Zereeba, near Belbeis, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 2 3/4 x 8 1/2 inches (7 x 21.6 cm), camels (mammals), figures

Saltwood Castle, September 28, 1831, Anne Rushout, ca. 1768–1849, British, 1831, 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),

Massa Forno, Gozo, Edward Lear, 1812–1888, British, 1866, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, mounted on medium, slightly textured, brown wove paper, Sheet: 3 13/16 x 5 5/16 inches

View of Old London Bridge, William Henry Hunt, 1790–1864, British, 1825, Watercolor, with pen, in brown ink on moderately thick, textured, beige wove paper, Sheet: 13 1/4 x 21 1/8 inches (33.7 x 53.7 cm), architectural subject, barrels,

Steeplechasing: The Field Jumping Into and Out of a Lane, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on moderately thick, moderately textured, beige, wove paper, Sheet: 10 1/4 × 14 3/8 inches (26 × 36.5 cm),

Holland Estate, St. Thomas in the East, View from the Change of Air House, James Hakewill, 1778–1843, British, between 1820 and 1821, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 12 1/4 × 16

Borgo da Vico, Como (Borgo da Vico with the Villa Olmo), John Webber, 1752–1793, British, before 1775, Graphite and watercolor on medium, slightly textured, cream laid paper, Sheet: 11 1/8 × 18 inches (28.3 × 45.7 cm), Como

Songs of Innocence and of Experience, Plate 22, 'The Little Boy Found' (Bentley 14), 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

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, slighlty textured, brown wove paper, Sheet: 6

St. Archangelo, from the Railway Carriage, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on medium, slightly textured, blue wove paper, Sheet: 3 x 9 1/16 inches (7.6 x 23 cm), buildings,

The Poems of Thomas Gray, Design 115, '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

Binstead Parsonage, Isle of Wight, John Nixon, ca. 1760–1818, British, undated, Watercolor and graphite on medium, slightly textured, beige wove paper, Sheet: 5 5/8 × 9 5/16 inches (14.3 × 23.7 cm), architectural subject, bushes,

South East View of Bourn Hall, Cambridgeshire, the Seat of the Right Hon'ble Earl DeLawarr, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1818, Watercolor and pen and black ink on moderately thick,

Negadeh, 1:45 pm, 17 January 1867 (190), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and gray and green chalk and gouache, over graphite on moderately thick, moderately textured, beige wove paper, Sheet: 3 5/8 × 9 1/2

Memorial to Mary Heming from Hillingdon Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 14 3/4 × 10 5/8

Two Drawings on One Sheet: Landscape - Color Wash, Titian (no. 9); Landscape - color wash, Rubens (no. 10), Thomas Sully, 1783–1872, American, undated, Watercolor on medium, slightly textured, beige, wove paper, Sheet: 10 15/16 × 8 3/4

The Road to East Grinstead, John James Barralet, 1747–1815, British, Undated, Pen and ink and watercolor on medium, moderately textured, cream laid paper laid down on rough, cream laid paper, Sheet: 13 11/16 x 22 5/8 inches (34.8 x 57.5

Turkish Dog-Fox, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, gray ink and graphite on moderately thick, smooth, white, wove paper, Sheet: 4 13/16 × 7 1/4 inches (12.2 × 18.4 cm), animal art

Songs of Innocence and of Experience, Plate 43, 'The Little Vagabond, ' (Bentley 45), 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

Prince of Wales Island, Penang, Ensign Caldwell, c.1800, undated, Watercolor, pen and black ink, graphite and gouache on moderately thick, moderately textured, blued white, laid paper, Sheet: 14 3/8 × 22 7/8 inches (36.5 × 58.1 cm),

Pigeon Parrakeet, unknown artist, nineteenth century, after Edward Lear, 1812–1888, British, 1832, Watercolor and graphite on wove paper, Sheet: 19 x 12in. (48.3 x 30.5cm), animal art, bird, branch, leaves, pigeon

Waterfall near Lynton, Robert Marris, 1750–1827, 1780, Watercolor, touches of gouache, pen and black ink, black crayon, some scraping out over graphite on slightly textured, moderately thick, cream wove paper, Sheet: 16 5/16 × 21 1/2

Yellow Mongoose, Charles Hamilton Smith, 1776–1859, Belgian, James Stewart, 1791–1863, British, ca. 1837, Watercolor, pen and brown ink, and graphite on thick, slightly textured, cream, wove paper, Sheet: 5 3/8 × 8 1/16 inches

Esmaika, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 2 1/2 x 4 7/8 inches (6.3 x 12.4 cm), buildings, dome, hills, landscape, palm trees,

Hoar Frost, Misty Morning: Glen Lyon, Charles Davidson, 1824–1902, British, undated, Watercolor over graphite on moderately thick, rough, cream wove paper, Sheet: 9 3/16 x 16 13/16 inches (23.3 x 42.7 cm), figures, frost, glen, grass,

Breast Buckle, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 4 × 3 3/8 inches (10.2 × 8.6 cm

'The Poacher's Progress:' Poachers Scuffling with the Constables in the Skittle Ground, C. Blake, active 1825–1826, undated, Graphite, watercolor, and varnish on thick, moderately textured, brown, wood pulp paper, Sheet: 12 11/16 × 17

The Beach at Charmouth, John Baverstock Knight, 1785–1859, British, undated, Watercolor with pen and brown ink over graphite on medium, slightly textured, blued white, wove paper, Sheet: 12 1/2 × 19 7/8 inches (31.8 × 50.5 cm), beach,

Sketch to Illustrate the Passions: Treachery, Richard Dadd, 1817–1886, British, 1853, Watercolor, gouache, and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 14 3/8 x 10 1/8 inches (36.5 x 25.7 cm), beards,

North West View of Cobham hall, Kent, the Seat of the Right honourable the Earl of Darnley, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1820, Watercolor and pen and black ink on moderately thick,

Westwood Park near Droitwich, Worcestershire, the Seat of Sir John Packington Bart., John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1820, Watercolor and pen and black ink on moderately thick, cream

The Poems of Thomas Gray, Design 5, '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

Heads of Fisherman, Joseph Stannard, 1797–1830, British, 1824, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 5/8 × 5 1/2 inches (24.4 × 14 cm), cap, coat, figure study, fisherman, genre subject

The Kill, Samuel Howitt, 1756–1822, British, 1792, Watercolor, pen and black ink, and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 18 7/8 × 27 1/4 inches (47.9 × 69.2 cm

The Hurduar Looking Up the River, Samuel Davis, 1757–1819, British, undated, Watercolor, pen and black ink, gray ink, graphite, and scratching out on moderately thick, moderately textured, beige, laid paper, mounted on, thick,

Songs of Innocence and of Experience, Plate 12, 'Spring' (Bentley 23), 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

An Old Coquette Outstood her Market, Thomas Rowlandson, 1756–1827, British, between 1815 and 1820, Watercolor with pen and brown and red-brown ink, over graphite, with pen and gray ink wash line on border; verso: graphite and watercolor

The Seine with Notre Dame, Frederick Nash, 1782–1856, British, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 6 15/16 × 10 3/4 inches (17.6 × 27.3 cm), barges, boats, bridge (built

A Rocky Hillside with Trees and Figures, James Ward, 1769–1859, British, undated, Graphite and watercolor on medium, slightly textured, blued white wove paper mounted on medium, slightly textured, beige laid paper, Sheet: 9 3/4 x 13 7/8

America. A Prophecy, Plate 5, 'A, Prophecy, The Guardian Prince of Albion....', Print made by William Blake, 1757–1827, British, 1793, Relief etching printed in blue with pen and black ink and watercolor on moderately thick, slightly

Fountain in the Gardens, Paris: Evening, Thomas Shotter Boys, 1803–1874, British, undate, Watercolor on medium, slightly textured, beige wove paper, Sheet: 5 5/8 x 8 1/4 inches (14.3 x 21 cm), evening, fountain, garden, genre subject,

View near Walton on Naze, Lionel Constable, 1828–1887, British, and Alfred Abram Constable, 1826–1853, British, formerly John Constable, 1776–1837, British, undated, Watercolor with pen and brown ink over graphite with scratching out

Songs of Innocence and of Experience, Plate 38, 'Holy Thursday' (Bentley 33), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching with watercolor on moderately thick, slightly textured, cream wove paper,

Study of a Crouching Fox, Facing Right, John Frederick Lewis, 1804–1876, British, undated, Watercolor, graphite and gouache on medium, slightly textured, beige, wove paper, Sheet: 6 3/4 × 10 1/8 inches (17.1 × 25.7 cm), animal art,

Side View of Single Brig and Bow of Another, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, pen and black ink, and graphite on medium, moderately textured, brown, wove paper, mounted on, moderately thick, smooth, beige,

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Brouckleugh; Mickle Sypeland, unknown artist, undated, Graphite, watercolor, pen and black and brown ink on slightly textured, moderately thick, cream wove paper, Sheet: 13

Green and White - Dieppe, James McNeill Whistler, 1834–1903, American, active in Britain (from 1859), ca. 1885, Watercolor and gouache on medium, smooth, beige wove paper mounted on card, Sheet: 4 7/8 x 8 1/2 inches (12.4 x 21.6 cm),

Memorial to George Higginson from Mrs. Martha Higginson from East Ham Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper,

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

El Areesh, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured, beige wove paper, Sheet: 1 3/4 x 4 1/2 inches (4.4 x 11.4 cm), camels (mammals), genre subject,

Vesuvius in Eruption, Isaac Weld, 1774–1856, Irish, ca. 1818, Watercolor and graphite on moderately thick, moderately textured, blued white, laid paper, Sheet: 7 15/16 x 12 5/8in. (20.2 x 32.1cm), landscape, Campagna

Design for a Medal: Concordia Victrix, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), ca. 1767, Pen and black ink, pen and red ink, graphite, black chalk, watercolor and gold leaf on medium, slightly

Aberothock Abbey, David Roberts, 1796–1864, British, 1848, Watercolor over graphite on thick, slightly textured, cream wove paper laid, Sheet: 13 11/16 x 9 15/16in. (34.8 x 25.2cm) and Sheet: 13 5/8 × 10 inches (34.6 × 25.4 cm),

Action at Kowloon, Lt. Joseph Sparkhall Rundle, 1815–1880, 1839, Watercolor and graphite on medium, slightly textured, cream wove paper mounted thick, moderately textured, cream wove paper, Sheet: 8 5/8 x 10 5/8in. (21.9 x 27cm) and Mount:

Design for a Gothic Chapel, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 9 1/4 × 12 3/4 inches (23.5 × 32.4 cm),

Landscape with a Boatshed, Attributed to George Harley, 1791–1871, British, formerly attributed to John Varley, 1778–1842, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 3/4

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, slighlty textured, cream wove paper, Sheet: 6

Banded Palm Civet, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor and graphite on medium, smooth, white, wove paper, Sheet: 4 1/16 × 6 1/2 inches (10.3 × 16.5 cm), animal art, zebra (mammal

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

The Cathedral of St. Pierre, Caen, Ambrose Poynter, 1796–1886, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 9 15/16 × 7 3/16 inches (25.2 × 18.3 cm), architectural subject,

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