Images at Librifly

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Victoria Headland, Mouth of the Thlew-ee-cho-de-zeth, Charles Hamilton Smith, 1776–1859, Belgian, after Sir George Back F.R.S, 1796—1878, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove

A Boy Lying Down, Joseph Stannard, 1797–1830, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/4 × 6 3/4 inches (8.3 × 17.1 cm), blanket, boy, genre subject, top hat

Set of ten, one leaf of text, and printed wrapper: Count Sandor's Exploits in Leicestershire, Edward Duncan, 1803–1882, British, after John Ferneley, 1782–1860, British, 1833, Aquatint with hand coloring in watercolor, Sheet: 10 3/8 x

Design for a London Townhouse: Elevation, Michael Searles, 1750–1813, British, undated, Graphite, pen and black ink and watercolor on Slightly textured, medium thickness, cream laid paper, Sheet: 8 1/8 × 8 5/8 inches (20.6 × 21.9 cm),

Section of a Building Near the Coast, Sir Robert Smirke the younger, 1781–1867, British, 1802-1804, Watercolor and graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 11 5/16 × 8 3/8 inches (28.7 × 21.3 cm

Lilleshall Hall, Shropshire: General Plan and Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1826, Pen, black ink, graphite and watercolor on medium, slightly textured, cream wove paper, Sheet: 18 1/2 × 14 1/4 inches

Headfort House, Ireland: Eating Parlor Ceiling, Robert Adam, 1728–1792, British, 1775, Graphite, pen and black ink, and watercolor on moderately thick, moderately textured, cream laid paper, Sheet: 18 7/8 x 25 5/8 inches (47.9 x 65.1

The Gray Fox, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, gray ink and graphite on medium, smooth, cream, wove paper, Sheet: 3 13/16 × 6 5/8 inches (9.7 × 16.8 cm), animal art

Colius striatus (Speckled Mousebird), 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 × 30.5

Farm Buildings among Trees, Henry Edridge, 1769–1821, British, undated, Watercolor, with pen, in brown ink, gray ink, and graphite on thick, rough, beige, laid paper, mounted on, moderately thick, smooth, beige, wove paper, Mount:

Mine in the Bastion du Mat, Sebastopol, Crimea, William Simpson, 1823–1899, British, 1856, Watercolor and gouache over graphite on medium, cream, slightly textured wove paper, Sheet: 10 3/8 x 15 15/16 inches (26.4 x 40.5 cm), genre

River Scene (The Thames at Eton?), Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown and gray brown ink, over graphite on moderately thick, moderately textured, beige, wove paper, Sheet: 6 1/8 x 9 1/16

Konigstein, Charles Gore, 1729–1807, British, 1789, Watercolor and gouache with pen and brown ink over graphite on moderately thick, moderately textured, blued white laid paper, Sheet: 10 3/8 x 18 1/4 inches (26.4 x 46.4 cm), buildings,

Dendera, 9:00 am, 15 January 1867 (156), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, gouache, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 3 3/8 x 10 1/2 inches (8.6 x 26.7

An Overshot Mill, Andrew Nicholl, 1804–1866, Irish, undated, Watercolor and scratching out over graphite on medium, slightly textured, cream wove paper, Sheet: 12 5/8 × 19 inches (32.1 × 48.3 cm

The 48th Regiment with Casemate, Gibraltar, George Lothian Hall, 1825–1888, British, 1844, Watercolor, pen and black ink, pen and brown ink and graphite with scratching out on thick, moderately textured, cream wove paper, Sheet: 6 1/4 ×

A Map of Pulham Farm, Isaac Johnson, 1754–1835, British, undated, Pen and brown ink and watercolor on vellum, Sheet: 15 × 22 1/2 inches (38.1 × 57.2 cm), architectural subject, designs, house, surveys, England, Europe, Norfolk,

A Coach and Four Passing Through Chippenham, Wiltshire, Samuel Howitt, 1756–1822, British, undated, Watercolor, pen and black ink, gray ink, and graphite on moderately thick, slightly textured, cream, wove paper, Sheet: 6 1/8 × 19 3/4

Bathers in a Landscape, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown and gray ink, over graphite; verso: graphite with watercolor stain on moderately thick, slightly textured, cream, wove paper, Sheet: 6 x

Herstmonceux Castle, East Sussex: The Chicken 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, Sheet: 18 5/8

Views in the Levant: Rome with Ruins seen Through an Archway, Willey Reveley, 1760–1799, British, ca. 1785, Watercolor over graphite, with pen in brown ink and gum arabic on medium, slightly textured, cream, laid paper, mounted on thick,

Abyssinian Dog, Samuel Howitt, 1756–1822, British, ca. 1813, Watercolor and pen and brown ink and graphite on medium, slightly textured, cream wove paper, Sheet: 9 7/8 × 7 5/8 inches (25.1 × 19.4 cm), animal art, dog (animal

Memorial to John Walker from Hillingdon Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 14 3/4 × 10 5/8 inches (37.5 ×

Jerusalem, Plate 11, 'To labours mighty....', 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, Sheet: 13

Memorials to Francis Wilkson and John and Eluzay Hewitt 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

Tomb of Sir Robert Stanley and his Children, Gerdinand and Henriette Maria 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,

Design for a Vignette: The King of France Surrounded by Courtiers, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), undated, Pen and black ink, graphite, red chalk, and gold leaf on medium, slightly textured,

Monument of Lady Cheynie of Chelsea, Attributed to 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 3/4 × 10 3/4 inches (37.5

Design for A Blue Grotto, Thomas Grieve, 1799–1882, British, undated, Watercolor, gouache, graphite, and collage, squared and numbered for transfer on two layered sheets of medium, slightly textured, cream wove paper, Sheet: 10 3/8 ×

A Balloon Ascent near Greenwich Hospital, unknown artist, Previously James Holland, 1799–1870, British, ca. 1800, Watercolor, pen, and ink on medium, slightly textured, cream wove paper, Sheet: 9 × 11 7/8 inches (22.9 × 30.2 cm),

Italian Coast Scene with Island Shipping, John Wilson Carmichael, 1799–1868, British, undated, Watercolor and graphite on medium, slightly textured, cream, wove paper, Sheet: 8 11/16 × 16 5/8 inches (22.1 × 42.2 cm), Italy

Portrait of a Gentleman, Andrew Plimer, 1763–1837, British, undated, Watercolor and gouache on ivory, Image: 2 5/8 x 2 1/8 inches (6.7 x 5.4 cm) and Frame: 3 1/4 x 2 3/8 x 3/8 inches (8.3 x 6 x 1 cm), portrait

The Market Place, Brackley, Northamptonshire, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and black, gray and red brown ink over graphite on medium, slightly textured, cream, wove paper, Sheet: 8 1/8 x 10 13/16

Chalcomitra senegalensis (Scarlet Chested Sunbird), 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

Survey of Tunstall Marshes, Isaac Johnson, 1754–1835, British, 1753, Graphite, pen and black ink, watercolor and gouache on smooth, moderately thick, white wove paper, Sheet: 15 3/4 × 22 7/8 inches (40 × 58.1 cm), architectural

South East View of Belton House, Lincolshire the Seat of the Right Hon'ble Earl Brownlow, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1811, Watercolor and pen and black ink on moderately thick,

Feeding the Five Thousand, Attributed to John Martin, 1789–1854, British, undated, Watercolor, pen and black ink, pen and brown ink, white gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 2 1/8 x 2 3/4 inches

Rocky Landscape with Fort, Thomas Miles Richardson Sr., 1784–1848, British, undated, Watercolor, graphite, and gouache on medium, slightly textured, cream wove paper, Sheet: 4 1/2 × 8 1/2 inches (11.4 × 21.6 cm), architectural subject,

Yellow-eyed Babbler (Chrysomma sinense) perched on Chinese hat plant (Holmskioldia sanguinea), , Unknown artist, probably Indian, formerly attributed to George Edwards, 1694–1773, British, ca. 1770, Watercolor, gouache, and pen and ink on

Westminster, during Queen Caroline's Trial, Robert Bremmel Schnebbelie, active 1803–1849, undated, Watercolor with pen and black ink on thick, slightly textured, cream wove paper, Sheet: 8 5/8 x 13 15/16in. (21.9 x 35.4cm) and Sheet: 8 5/8

James Nasmyth, Henry Edridge, 1769–1821, British, 1809, Watercolor, gouache and graphite on thick, smooth, cream card, Sheet: 8 1/2 × 7 inches (21.6 × 17.8 cm), man, portrait

The Lakes of Llanberis - from the Road from Caernarfon Going to Llanberis, Caernarfonshire, John Warwick Smith, 1749–1831, British, July 14, 1792, Watercolor and graphite with pen and black ink on medium, smooth, cream wove paper, Sheet:

Near El Azerat, 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), boat, cliffs, landscape, river, river, sky, water,

The Poems of Thomas Gray, Design 33, '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

The Vine Inn, Vine Yard, Aldersgate in the City of London, Thomas Hosmer Shepherd, 1792–1864, British, undated, Watercolor, brown ink, graphite, and gouache on medium, smooth, cream wove paper, Sheet: 6 15/16 × 10 1/2 inches (17.6 ×

Young's Night Thoughts, Page 63, 'This King of Terrors is the Prince of Peace', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

River Scene with an Unidentified Country House, Samuel Davis, 1757–1819, British, between 1806 and 1818, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 1/2 x 16 inches (26.7 x 40.6 cm), architectural

Remains of Purton Hall, Staffordshire, Cornelius Varley, 1781–1873, British, 1820, Watercolor, graphite, and black ink on medium, slightly textured, cream wove paper, Sheet: 14 7/8 × 21 3/8 inches (37.8 × 54.3 cm), architectural

The Mausoleum, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown ink and pen and gray brown ink, over graphite on medium, slightly textured, beige, wove paper, Sheet: 5 x 8 11/16 inches (12.7 x 22.1 cm),

Gloucester, Peter DeWint, 1784–1849, British, undated, Watercolor, white gouache, graphite and scraping out on thick, cream, rough wove paper, Sheet: 17 7/16 x 23 7/8 inches (44.3 x 60.6 cm), boats, cathedral, factories, harbors,

Windsor Castle, Berkshire: Principal Floor Plan, Studio of Sir Jeffry Wyatville, 1766–1840, British, after 1830, Watercolor, pen and black ink, graphite on Slightly textured, moderately thick, cream wove paper, Sheet: 16 1/2 × 28 7/8

Study of cattle with a calf in foreground, Sawrey Gilpin, 1733–1807, British, undated, Graphite and watercolor on medium, slightly textured, cream laid paper, Sheet: 6 × 8 1/2 inches (15.2 × 21.6 cm), animal art, calf, cattle, cows,

Under the Hammer, Robert Polhill Bevan, 1865–1925, British, between 1912 and 1913, Black chalk and watercolor on medium, slightly textured, beige wove paper, Sheet: 10 3/16 × 12 5/16 inches (25.9 × 31.3 cm) and Image: 4 1/8 × 6 1/16

Two Pointers, Facing Left, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on moderately thick, smooth, cream, wove paper, Sheet: 9 1/8 × 10 15/16 inches (23.2 × 27.8 cm), animal art

Guildhall, Samuel Ireland, active 1760–died 1800, British, between 1794 and 1800, Watercolor and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 x 6 3/4in. (12.7 x 17.1cm) and Mount: 9 × 12 1/2 inches (22.9 ×

Clypeasteroida (Sand Dollar), 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

River Scene with Buildings, Samuel Davis, 1757–1819, British, between 1777 and 1808, Watercolor over graphite on medium, slighlty textured, cream wove paper, Sheet: 9 3/8 × 12 inches (23.8 × 30.5 cm), arches, buildings, columns,

Gebel Es Silsilis, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and black ink on thick, moderately textured, beige wove paper, Sheet: 2 5/8 x 10 13/16 inches (6.7 x 27.5 cm), cliffs, landscape, river, riverbank,

View Near the Mill Looking Toward Licenza: Horace's Villa on the Left, Jacob More, 1740–1793, British, 1783, Gray wash with pen and black ink, watercolor and graphite on moderately thick, slightly textured, cream laid paper, in

Job's Sacrifice, 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: 4 3/4 x 3 1/2 inches (12.1 x 8.9

A Crane, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 9 7/8 × 12 inches (25.1 × 30.5 cm), animal art, crane (bird

Landscape with Lime-Kiln and Workmen, William Marshall Craig, ca. 1788–1828, British, ca. 1808, Watercolor, pen and gray ink, pen and brown ink, and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 9 x 7 3/8

Hare Sitting, Print made by Samuel Howitt, 1756–1822, British, Published by Edward Orme, 1775–1848, British, 1812, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

A Spider and Web with Blue Flowers, Joseph Crawhall, 1861–1913, British, undated, Watercolor, and pen and black ink on thin, moderately textured, beige, fabric, Sheet: 7 3/16 × 8 7/8 inches (18.3 × 22.5 cm), animal art

Self-Portrait, Hunting: in a Scarlet Coat and Tall Hat, Sir Francis Grant, 1803–1878, British, ca. 1821, Watercolor, with pen, in brown ink on moderately thick, moderately textured, blued white, laid paper, Sheet: 9 1/2 × 7 inches

Tabeen Berlin, 4:00 p.m., January 1, 1867 (16), Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on medium, moderately textured, beige, laid paper, mounted on moderately thick, rough,

The River at Dusk, Oxford, Rev. William Henry Barnard, 1767–1818, British, 1792, Watercolor, black chalk and graphite on thin, slightly textured, cream laid paper, Sheet: 8 × 12 7/8 inches (20.3 × 32.7 cm

Vjosa, Edward Lear, 1812–1888, British, 1857, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, mounted on very thick, moderately textured, beige wove cardboard paper, Sheet: 5 1/8 x 7 5/8 inches

The Rape of Persephone, William P. Sherlock, c.1780–1850, Formerly attributed to William Taverner, 1703–1772, British, undated, Pen and brown ink and watercolor on medium, moderately textured, cream laid paper, Sheet: 17 1/8 × 23 1/8

Songs of Innocence, Plate 24, 'On Anothers Sorrow' (Bentley 27), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in brown with pen and black ink and watercolor on moderately thick, slightly textured, cream

Charlcote house and Gateway, Warwickshire; the Seat of the Lucy Family, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1823, Watercolor and pen and black ink on moderately thick, cream wove paper,

Englishmen Promenading, Robert Mabon, died 1798, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 6 3/8 × 5 inches (16.2 × 12.7 cm

Tomb of Jane Jaforest, from Fulham 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 × 10 5/8 inches (37.8 × 27

Songs of Innocence and of Experience, Plate 34, 'Introduction' (Bentley 30), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching with pen and black ink and watercolor on moderately thick, slightly textured,

Portrait of a Man, Hercules Brabazon Brabazon, 1821–1906, British, after Sir Godfrey Kneller, 1646–1723, German, active in Britain (from 1676), undated, Graphite, watercolor and gouache on medium, smooth, beige wove paper, Sheet: 5

River Scene, Francis Nicholson, 1753–1844, British, 1808, Watercolor with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 7 3/16 × 10 1/4 inches (18.3 × 26 cm), boat, cart, forest, landscape, river, river

A Paddle-steamer in a Storm, Joseph Mallord William Turner, 1775–1851, British, ca. 1841, Watercolor, graphite and scratching out on medium, slightly textured, cream wove paper, Sheet: 9 1/8 x 11 3/8 inches (23.2 x 28.9 cm), air, clouds,

Plan of the Ground Floor, House of Lords, Attributed to office of Sir John Soane, 1753–1837, British, 1835, Pen and black ink, watercolor, graphite on moderately textured, moderately thick, white wove paper bar scale of 1/14 inch to 1

Heterohyrax brucei (Yellow-Spotted Rock Hyrax), James Bruce, 1730–1794, British, ca. 1768, Watercolor, pen iand brown ink, over graphite on medium, slightly textured, cream laid paper, Sheet: 12 3/8 × 9 3/4 inches (31.4 × 24.8 cm),

Lord Gwydir's, Near the Capel Carig Road, September 1830, Anne Rushout, ca. 1768–1849, British, 1830, Watercolor on moderately thick, slightly textured, cream wove paper

The Secundini Monument at Ighel in the Duchy of Luxembourg, William Pars, 1742–1782, British, undated, Watercolor with pen and gray and black ink with gouache on medium, moderately textured, blued white laid paper, Sheet: 13 3/16 x 20

Portrait of a Gentleman Called Michael Thomas Sadler, George Chinnery, 1774–1852, British, undated, Watercolor and gouache on ivory, Image: 3 1/8 x 2 5/8 inches (7.9 x 6.7 cm) and Frame: 4 1/8 x 2 7/8 x 5/8 inches (10.5 x 7.3 x 1.6 cm),

Gertassee, 9:10 am, 31 January 1867 (284), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and brown ink over graphite on moderately thick, moderately textured, cream wove paper, Sheet: 12 1/2 × 7 inches (31.8 × 17.8 cm),

Ducks on a Pond, Newton Limbird Smith Fielding, 1799–1856, British, 1833, Watercolor, pen and black ink, brown ink, graphite, gum arabic, and gouache on medium, slightly textured, beige, wove paper, Sheet: 2 1/2 × 4 inches (6.4 ×

Loading a Haywain, Peter DeWint, 1784–1849, British, undated, Watercolor, verso: graphite on medium, rough, cream, wove paper, Sheet: 1 15/16 × 3 3/8 inches (4.9 × 8.6 cm), figures, genre subject, hay, haywain, laborers

Barandilles, a woman on a donkey, Alfred Diston, active 1818–1829, 1828, Watercolor, pen and black ink over graphite on medium, slightly textured, cream wove paper, Sheet: 9 1/4 × 7 1/8 inches (23.5 × 18.1 cm), cliff, costume, donkey,

Autumn Trees by a Lake, Joseph Barber, 1757–1811, British, undated, Watercolor and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 8 3/8 × 10 3/8 inches (21.3 × 26.4 cm), autumn, branches, lake, landscape,

Church, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray ink, over graphite on medium, slightly textured, cream, wove pape, Sheet: 5 3/8 x 8 7/16 inches (13.7 x 21.4 cm), church, fence, gate, landscape,

Belfast from Bunker's Hill / On the Road to Hollywood, John O'Connor, 1830–1889, British, undated, Watercolor, graphite, pen and brown ink and black ink on medium, moderately textured, beige, wove paper, Sheet: 7 1/4 × 11 5/16 inches

A Village Snow Scene, Robert Hills, 1769–1844, British, 1819, Watercolor and gouache over graphite with scraping out on thick, moderately textured, beige wove paper, Sheet: 12 5/8 x 16 15/16 inches (32 x 43.1 cm), animal art, animals,

Vjose, 7:15 p.m. 17 April 1857, Edward Lear, 1812–1888, British, 1857, Watercolor with pen in brown ink over graphite on medium, slightly textured, beige wove paper, Sheet: 4 7/8 x 7 9/16 inches (12.4 x 19.2 cm), landscape, mountains,

The Temple of Baalbec, David Roberts, 1796–1864, British, 1839, Watercolor and graphite on medium, slightly textured, cream wove paper mounted to thick, smooth cream card, Sheet: 13 1/2 × 21 1/4 inches (34.3 × 54 cm), architectural

A Moored Barque and Barge in a River, Richard Henry Nibbs, 1816–1893, British, 1884, Watercolor, gouache and graphite with scratching out on moderately thick, rough, cream wove paper, Sheet: 10 1/8 × 19 1/4 inches (25.7 × 48.9 cm

A Goddess, William Alexander, 1767–1816, British, undated, Watercolor and black ink over graphite on medium, smooth, cream wove paper, Sheet: 5 1/8 x 4 1/2 inches (13 x 11.4 cm), Chinese, dress, earrings, goddess, headdress, incense,

The Free Born Briton or a Perspective of Taxation., William Dent, active 1784–1793, 1790, Etching with watercolor on wove paper, Sheet: 9 7/8 x 13 7/8in. (25.1 x 35.2cm

Just above Ekhmim, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and cochineal ink, and black ink on thick, slightly textured, cream wove paper, Sheet: 3 9/16 x 11 1/4 inches (9 x 28.6 cm), boat, figures

New Government House at Calcutta, Samuel Davis, 1757–1819, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 3/8 × 5 5/8 inches (8.6 × 14.3 cm), architectural subject, exterior, house,

A Mandarin in his Court Dress, William Alexander, 1767–1816, British, undated, Watercolor with black ink over graphite on moderately thick, slightly textured, beige wove paper, Sheet: 8 × 5 1/2 inches (20.3 × 13.9 cm), beads, building,

The North or Great Barn Farm at Earlham, Isaac Johnson, 1754–1835, British, 1753, Graphite, pen and brown ink, watercolor and gouache on smooth, moderately thick, white wove paper, Sheet: 14 1/2 × 22 3/4 inches (36.8 × 57.8 cm),

Drivers and Burros Resting at Sunset, William Payne, active 1850s, British, undated, Watercolor and graphite on medium, moderately textured, cream wove paper mounted on moderately thick slightly textured, brown wove paper, Sheet: 10 7/8 × 6

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