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Dolbadarn Castle, James Ward, 1769–1859, British, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 5 5/8 x 10 3/4 inches (14.3 x 27.3 cm), castle, lake, landscape, Cymru, United Kingdom, Wales

Feeding the Ducklings, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown ink over graphite on medium, slightly textured, cream, wove paper, Sheet: 9 x 11 1/2 inches (22.9 x 29.2 cm), birdcage (container),

Inside of Castle Gate, Taunton, Somerset, John Inigo Richards RA, 1730/31?–1810, British, 1752, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 4 7/8 × 8 inches (12.4 × 20.3 cm), arch, architectural

Landscape with Trees, attributed to Robert Hills, 1769–1844, British, formerly attributed to John Linnell, 1792–1882, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 x 5 7/8

Pile Driving on the Banks of the Thames, unknown artist, eighteenth century, Finished by Paul Sandby RA, 1731–1809, British, and Thomas Sandby RA, 1721–1798, British, undated, Watercolor, brown ink, gouache and graphite on medium,

The Modern Atlas, or Man of the World, Print made by James Hook, ca. 1772–1828, British, 1787, Etching with hand coloring in watercolor, Sheet: 11 7/8 x 7 1/2in. (30.2 x 19.1cm

Queen Square, London, Edward Dayes, 1763–1804, British, 1786, Watercolor with pen and black ink over graphite on thick, smooth, cream wove paper, Sheet: 17 1/16 x 23 1/2 inches (43.4 x 59.7 cm), Contemporary drawn border: 17 1/8 x 23 7/16

Three Men and Two Boys Sitting on a Pier, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on moderately thick, slightly textured, cream wove paper mounted

A French Canal Scene, François Louis Thomas Francia, 1772–1839, French, active in Britain, 1810, Watercolor on medium, smooth, cream wove paper, Sheet: 4 3/4 x 13 3/4 inches (12.1 x 34.9 cm), canal, landscape, Europe, France

A Lodge at Cassiobury, William Henry Hunt, 1790–1864, British, ca. 1820, Watercolor, pen and brown ink, and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 10 5/8 x 14 7/8 inches (27 x 37.8 cm), architectural

The Fishmonger's Almhouses, Newington Butts, London, Robert Bremmel Schnebbelie, active 1803–1849, 1819, Watercolor on medium, textured, cream wove paper, Sheet: 5 7/8 × 16 inches (14.9 × 40.6 cm), almshouses, houses, landscape,

Rhodes, Joseph Mallord William Turner, 1775–1851, British, between 1823 and 1824, Watercolor, gouache and scraping out on moderately thick, slightly textured, cream wove paper, Sheet: 5 1/4 x 8 7/8in. (13.3 x 22.5cm), boats, city,

Beached Fishing Vessel, Thomas Miles Richardson Sr., 1784–1848, British, undated, Watercolor and gouache with pen and brown ink on medium, slightly textured, beige wove paper, Sheet: 9 1/2 × 6 inches (24.1 × 15.2 cm), architectural

Wady Halfeh, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 4 11/16 x 11 11/16 inches (11.9 x 29.7 cm), lake, landscape, palm trees,

Young's Night Thoughts, Page 13, 'The present moment terminates our sight', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

St. George's Chapel, Windsor, West End, July 19, 1832, 10 am, Dr. William Crotch, 1775–1847, 1832, Graphite, watercolor, and gouache on medium, slightly textured, cream, wove paper, Mount: 12 7/8 × 10 7/16 inches (32.7 × 26.5 cm),

Straits of Sunda, Henry William Parish, active 1792, 1793, Watercolor and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 4 1/8 × 10 7/16 inches (10.5 × 26.5 cm

Sketch of the Dining Room at Burton Agnes; Yorkshire, The Seat of Sir Francis Boynton Bart., John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1819, Watercolor and pen and black ink on moderately thick,

Tafa, 10:15 am, 31 January 1867 (289), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and brown ink over graphite on thick, moderately textured, cream wove paper, Sheet: 2 3/8 × 7 inches (6 × 17.8 cm), landscape, palm

Young's Night Thoughts, Page 15, 'The longest night though longer far, would fail', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove

Design for Setting of Charles Kean's Richard II at the Princess's Theatre on March 12, 1857, Act 4, Scene 1, George Cressal Ellis, ca. 1810–1875, undated, Graphite, watercolor, heightened with gouache on thin wove paper stained for

A Georgian House, John Gendall, 1790–1865, British, undated, Watercolor and gouache over graphite on slightly textured, medium, white wove paper, Sheet: 4 13/16 × 7 5/16 inches (12.2 × 18.6 cm), architectural subject, exterior view,

Walruses, James Stewart, 1791–1863, British, ca. 1837, Watercolor, graphite, pen and brown ink on thick, slightly textured, cream, wove paper, Sheet: 4 3/4 × 7 5/8 inches (12.1 × 19.4 cm

Dik-dik, James Bruce, 1730–1794, British, ca. 1768, Watercolor, pen and brown ink and graphite on vellum, Sheet: 5 1/2 × 6 3/8 inches (14 × 16.2 cm), animal art

The Banks of the Thames, Opposite Pope's Villa, John Martin, 1789–1854, British, 1850, Watercolor, gouache and graphite on medium, slightly textured, beige wove paper mounted on card, Sheet: 11 3/4 × 23 3/4 inches (29.8 × 60.3 cm) and

The Horse Guards From the Bridge, St. James's Park, Joseph Murray Ince, 1806–1859, British, 1833, Watercolor, with pen, in brown ink, graphite, and gouache on medium, slightly textured, cream, wove paper, Sheet: 7 15/16 × 13 1/4

A Seat of the Earl of Bridgewater in Hertfordshire and Buckinghamshire, Studio of Sir Jeffry Wyatville, 1766–1840, British, 1814, Pen, black ink, graphite and watercolor on moderately thick, slightly textured, cream wove paper with black

Two Schoolboys, Elias Martin, 1739–1818, Swedish, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 7 × 5 9/16 inches (17.8 × 14.1 cm), alley, books, boys, breeches, knee, brick, chimneys

Songs of Innocence and of Experience, Plate 35, 'The Little Girl Found' (Bentley 36), 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

Mr. Godschall's House, Anthony Devis, 1729–1817, British, undated, Watercolor, pen and black ink, gray ink, gray wash and graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 15 × 19 13/16 inches (38.1 × 50.3

A Mediterranean Port (or Aden?), Charles Dyce, active 1848, British, ca. 1849, Watercolor over graphite with scraping out on medium, slighlty textured, cream wove paper, Sheet: 9 7/8 × 13 3/4 inches (25.1 × 34.9 cm), figures, houses,

Shakespeare Illustration: 'Measure for Measure', unknown artist, undated, Watercolor and pen and ink on medium, sligtly textured, cream laid paper, Sheet: 6 3/8 × 4 inches (16.2 × 10.2 cm), begging, castles, literary theme, Measure for

Buildings Overlooking Water, near Naples, Monro School, Thomas Girtin, and, 1775–1802, British, Joseph Mallord William Turner, 1775–1851, British, ca. 1796, Watercolor, graphite, gray wash and blue wash on medium, slightly textured,

Memorial to Thomas Parsons, his Wife Mary and their Daughters, Ann Hamill and Mary Baunton form Stoke Newington Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over

Bomb Proof Battery near Gillingham, on the Medway..., Edward William Cooke, 1811–1880, British, undated, Watercolor, gouache and graphite on medium, slightly textured, cream wove paper, Sheet: 8 5/8 x 12 3/8 inches (21.9 x 31.4 cm),

Two Shakos of the Dublin Militia: One Green, One Red, Michael Angelo Hayes, 1811–1880, British, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 7 3/4 × 4 1/2 inches (19.7 ×

Songs of Innocence and of Experience, Plate 53, 'My Pretty Rose Tree', 'Ah! Sun-Flower', 'The Lilly' (Bentley 43), Print made by William Blake, 1757–1827, British, 1789 to 1794, Relief etching printed in dark-brown with pen and black ink

Short Sword in Sheath, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 3 1/4 × 7 3/4 inches (8.3 × 19.7 cm

Design for a Cottage: Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink, watercolor on slightly textured, medium, cream wove paper, Sheet: 10 × 14 3/16 inches (25.4 × 36 cm),

Norwich Cathedral: Entrance to Jesus Chapel, John Sell Cotman, 1782–1842, British, ca. 1807, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 10 3/4 x 14 1/8 inches (27.3 x 35.9 cm), architectural subject,

The Encampment, Philippe-Jacques de Loutherbourg, 1740–1812, French, active in Britain (from 1771), undated, Watercolor, graphite, pen and black ink and pen and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 5

The Flattering Glass, or Nell's Mistake, William Dent, active 1784–1793, 1791, Etching with watercolor on laid paper, Sheet: 6 3/4 x 10 9/16in. (17.1 x 26.8cm

Songs of Innocence and of Experience, Plate 32, Experience Frontispiece (Bentley 28), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching with pen and ink and watercolor on moderately thick, slightly

View on Exmoor, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown ink, and graphite on moderately thick, moderately textured, blued white, wove paper, Sheet: 5 5/8 x 9 1/8 inches (14.3 x 23.2 cm), dogs

The Abbey Mill, Knaresborough, Thomas Girtin, 1775–1802, British, 1801, Watercolor with pen and brown ink, white watercolor, with some rubbing, over graphite on beige, moderately thick, moderately textured, laid paper, Sheet: 12 11/16

Jerusalem, Plate 46, 'Bath, mild Physician....', 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:

Songs of Innocence and of Experience, Plate 47, 'The Angel' (Bentley 41), 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,

Glencoe: A Shepherd Boy Crossing a Burn, Walter Goodall, 1830–1889, British, 1857, Watercolor over graphite with scratching out on medium, moderately textured, cream wove paper, Sheet: 13 1/8 × 19 3/8 inches (33.3 × 49.2 cm), boy,

Genets, Joseph Wolf, 1820–1899, German, undated, Watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 3 5/8 × 4 5/8 inches (9.2 × 11.7 cm), animal art, genets (animals), Nature

Alassio, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor and gouache on medium, brown, smooth wove paper mounted on card, Sheet: 10 1/8 x 13 1/8 inches (25.7 x 33.3 cm) and Mount: 10 5/8 x 13 5/8 inches (27 x 34.6 cm),

The Fair at Cheltenham, Edward Eyre, active 1771–1792, British, 1775, Watercolor, pen, brown ink, and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 9 5/8 × 15 1/8 inches (24.4 × 38.4 cm), advertisements,

Bablock Hythe, Near Oxford, Alfred Parsons, 1847–1920, British, 1881, Watercolor, gouache, and graphite on medium, slightly textured, gray laid paper, Sheet: 6 15/16 × 11 9/16 inches (17.6 × 29.4 cm), cable ferry, ferry, house,

The Night Riders of Nacton: Preparing to Start. Ipswich, the Watering Place behind the Barracks, Henry Thomas Alken, 1785–1851, British, undated, Watercolor and gouache on medium, moderately textured brown laid paper mounted to thick, card,

Memorial to Frances Elizabeth Aust, from Paddington 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 3/4 × 10 3/4

The Gossips, Samuel Scott, 1701/2–1772, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 4 1/2 x 3 3/4 inches (11.4 x 9.5 cm), aprons, basket, dresses, figure study, genre subject, hats,

Marine sketch, Henry William Parish, active 1792, 1792, Watercolor, graphite, and pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 3 11/16 × 9 3/16 inches (9.3 × 23.3 cm

A Mountain View, Hercules Brabazon Brabazon, 1821–1906, British, undated, Gouache and watercolor on medium, cream, smooth wove paper, Mount: 12 1/4 x 9 1/4 inches (31.1 x 23.5 cm) and Sheet: 11 7/8 x 8 7/8 inches (30.2 x 22.5 cm),

Bishop Thomas Percy, Bishop of Dromore, Thomas Langdon, active 1800, British, 1793, Watercolor, gouache and gum arabic on ivory in rose gold locket with hanger, Image: 3 3/8 × 2 3/4 inches (8.5 × 7 cm), man, portrait, tapestry, wig

Troops Returning to the Camp at Chobham, George Bryant Campion, 1796–1870, British, undated, Watercolor and gouache on moderately thick, slightly textured, beige wove paper, Sheet: 9 1/2 × 27 1/2 inches (24.1 × 69.9 cm), historical

Part of a Lake Landscape with Boat, Clarkson Stanfield, 1793–1867, British, 1863, Watercolor and graphite on moderately thick, slightly textured, light blue wove paper, Sheet: 5 × 7 1/4 inches (12.7 × 18.4 cm) and Binding: 5 1/4 inches

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

Ceiling Plan for Clifton Castle, Attributed to Thomas Harrison, 1744–1829, British, ca. 1780-1790, Watercolor, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 21 3/8 × 14 3/4 inches (54.3 × 37.5 cm),

Chester, Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on thick, moderately texture, cream wove paper, Sheet: 10 3/8 x 16 7/8 inches (26.4 x 42.9 cm), architecture, cityscape, clouds, landscape, town, Chester,

Rustic Scene: man fishing, left; cottage with water-mill and horses right, Peter La Cave, active 1769–1810, undated, Watercolor, graphite, and pen and black ink on medium, slightly textured, white wove paper, Sheet: 7 1/2 × 14 7/8 inches

The Miseries of the Country, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown and gray ink, over graphite on medium, slightly textured, cream wove paper mounted on cream, moderately thick, moderately

Hafod: Upper Part of Cascade, John Warwick Smith, 1749–1831, British, 1793, Watercolor over graphite on medium, slightly textured, beige wove paper, Sheet: 13 5/8 x 20 1/8 inches (34.6 x 51.1 cm), cascade, cliff, landscape, man, rocks

Red Panda, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, and graphite on moderately thick, smooth, white, wove paper, Sheet: 4 1/4 × 6 3/4 inches (10.8 × 17.1 cm), animal art

Design for a Park Gateway, Edward Blore, 1789–1879, British, undated, Watercolor, gouache, graphite, etched lines, with black ink, and pen, in brown ink on medium, slightly textured, cream, wove paper, mounted on, moderately thick,

View of a Fort, Samuel Davis, 1757–1819, British, undated, Watercolor, pen, brown ink, gray ink, wash, and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 9 1/2 x 13 5/8 inches (24.1 x 34.6 cm), architectural

One of eighteen designs for a series of plates illustrating Venus and Adonis, Hablot Knight Browne, 1815–1882, British, undated, Graphite, red chalk, watercolor and white gouache on medium, slightly textured, gray wove paper, Sheet: 6 5/8

Jerusalem, Plate 88, 'Los answerd sighing....', 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

Harvest Time, Peter DeWint, 1784–1849, British, undated, Watercolor over graphite on thick, cream, rough wove paper, Sheet: 12 3/8 x 19 1/4 inches (31.4 x 48.9 cm), autumn, farms, fences, fields, figures, harvest, hay, labourers,

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), boats, channel (water

Memorial to John Crayle his wife, Sarah and his two Daughters, Mary and Sarah from Acton Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium,

The Sleepwalking Scene in Macbeth, Henry Pierce Bone, 1779–1855, British, undated, Watercolor, pen and black ink, brown ink, graphite and traces of white gouache on moderately thick, moderately textured, beige wove paper, Sheet: 19 7/8 x

Bologna, View in the Strada Maggiore, John Augustus Atkinson, 1775–1831, British, 1819, Watercolor, pen and brown ink and graphite on moderately thick, slightly textured cream wove paper, Sheet: 8 1/2 × 11 1/8 inches (21.6 × 28.3 cm) and

San Leo from San Marino, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 2 13/16 x 4 3/4 inches (7.1 x 12.1 cm), cliffs, hills, landscape, sky,

Designs executed for Jones and Willis, metal and wood-workers and church furniture manufacturers of Birmingham and London, George Edmund Street, 1824–1881, British, 1850, Black ink, graphite and watercolor on thin, smooth, bege wove paper

East View of Trevalyn Hall, Denbighshire; the property of George Boscawen Esquire, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1823, Watercolor and pen and black ink on moderately thick, cream

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: 13 1/2 × 16 7/8 inches (34.3 × 42.9 cm)

The Tooth Drawer, unknown artist, eighteenth century, undated, Watercolor, gray wash, pen and black ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 10 1/2 × 14 1/2 inches (26.7 × 36.8 cm

Rosa McDermott and Lord Marchhare, John Leech, 1817–1864, British, undated, Graphite and watercolor on medium, smooth, wove paper, Sheet: 4 1/16 × 4 3/4 inches (10.3 × 12.1 cm) and Frame: 6 15/16 × 6 15/16 × 1/4 inches (17.7 × 17.7 ×

Near Wady Halfeh, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, beige wove paper, Sheet: 3 1/16 x 5 1/4 inches (7.8 x 13.3 cm), architectural subject, lake, landscape,

A Horse in Harness Seen From the Near Side, Thomas Sidney Cooper, 1803–1902, British, undated, Watercolor and graphite on medium, moderately textured, beige, wove paper, Sheet: 4 5/8 × 6 7/16 inches (11.7 × 16.4 cm), Contemporary drawn

Young Child with Lap-Dog, John Hoppner, 1758–1810, British, undated, Brown, red and black chalk and watercolor over graphite on moderately thick, rough, cream wove paper, Sheet: 6 1/4 × 8 1/8 inches (15.9 × 20.6 cm), child, clouds,

Reading Gate-Way, Charles Tomkins, 1757–1823, British, undated, Watercolor and graphite on medium, slightly textured cream laid paper, Sheet: 6 × 8 13/16 inches (15.2 × 22.4 cm), abbeys, arch, architectural subject, figures, grass,

A Rowing Boat, Thomas Sandby RA, 1721-1798, British, undated, Watercolor and black ink on medium, slightly textured, cream laid paper, Sheet: 1 3/8 x 5 13/16 inches (3.5 x 14.8 cm), boat, rowing, still life

Cookham, near Maidenhead, Peter DeWint, 1784–1849, British, undated, Watercolor over graphite on thick, cream, rough wove paper, Sheet: 12 1/8 x 18 5/8 inches (30.8 x 47.3 cm), birds, church, clouds, landscape, path, river, tower

The Entrance to Burleigh park near Stamford, John Buckler FSA, 1770–1851, British, John Chessell Buckler, 1793–1894, British, 1811, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet: 14 × 19 3/4 inches (35.6

The East View of the Royal College of Eton, John Pine, 1690–1756, British, after Alexander Cozens, 1717–1786, British, 1742, Engraving with watercolor on laid paper, Plate: 11 13/16 x 18 1/4in. (30 x 46.4cm) and Sheet: 13 1/2 x 19 3/4in.

Hong Kong Harbor, Lt. Humphrey John Julian, active 1842–1849, 1843, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 8 5/8 x 3 7/8in. (21.9 x 9.8cm), harbor, sky, Hong Kong, Hong Kong Island, Xianggang, Zhonghua

Songs of Innocence and of Experience, Plate 24, 'The Lamb' (Bentley 8), 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

Petoowack Arctic Highlands Formation, 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

Memorial of Mrs. Elizabeth Searles from Acton Church, 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 5/8 × 10

Four Fish, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, graphite, and pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 12 1/8 x 8 1/2 inches (30.8 x 21.6 cm), fish

Landscape with Windmill, Thomas Creswick, 1811–1869, British, undated, Watercolor, brown wash, and graphite on moderately thick, slightly textured, blued white wove paper, Sheet: 8 1/4 × 14 1/2 inches (21 × 36.8 cm), architectural

The Grand Canal, Venice, James Duffield Harding, 1798–1863, British, 1835, Watercolor, with pen in brown and blue ink, gouache and arabic gum over graphite on cream, moderately thick moderatelytextured, wove paper, stretched over solid

Earlham, Norfolk, Isaac Johnson, 1754–1835, British, undated, Pen and brown ink and watercolor on medium, slightly textured, cream laid paper, Sheet: 15 × 22 1/2 inches (38.1 × 57.2 cm), architectural subject, designs, house,

Versailles, James Holland, 1799–1870, British, undated, Graphite, watercolor, white gouache on medium, slightly textured, cream laid paper, Sheet: 5 1/2 × 9 1/4 inches (14 × 23.5 cm), arches, architectural subject, columns, palace,

Martha Gunn, Bather at Brighton, John Nixon, ca. 1760–1818, British, 1791, Watercolor on medium, smooth, cream wove paper, Sheet: 5 7/16 × 8 9/16 inches (13.8 × 21.7 cm), chairs, cloaks, dresses, figure study, hats, portrait,

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