Images at Librifly

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View Near Arundel Castle, Thomas Shotter Boys, 1803–1874, British, 1823 and 1874, Watercolor, with pen and brown ink, over graphite with scratching out on blued white, medium, slightly textured, wove paper, Sheet: 3 5/8 × 5 inches (9.2

Bab el Kalabshe, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, wove paper, mounted on moderately thick, slightly textured, cream wove paper, Sheet: 2 5/8 x 7 9/16 inches

Evening Entertainments, Charles Samuel Keene, 1823–1891, British, undated, Watercolor, gouache and graphite on moderately thick, smooth, brown wove paper, Sheet: 5 3/4 × 9 inches (14.6 × 22.9 cm), evening, genre subject, leisure

Madoqua (Dik-dik), James Bruce, 1730–1794, British, ca. 1768, Watercolor, pen and brown ink, over gaphite on medium, slightly textured, cream laid paper, Sheet: 4 1/2 × 5 3/4 inches (11.4 × 14.6 cm), animal art

Heidelberg, unknown artist, 1822, Watercolor and pen and black ink on moderately thick, moderately textured, cream wove paper, Sheet: 10 7/8 × 15 inches (27.6 × 38.1 cm) and Mount: 13 1/4 × 17 7/8 inches (33.7 × 45.4 cm), Heidelberg

Self-Portrait with Two Young Men, Louis Philippe Boitard, active 1734–1760, between 1730 and 1740, Watercolor and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 8 1/4 × 11 inches (21 × 27.9 cm), portrait

View of the Great Eruption of Morne Soufriere, St. Vincent, Rev. Lansdown Guilding, 1798–1831, British, undated, Watercolor, gouache and graphite on moderately thick, slighlty textured, beige card, Sheet: 20 1/2 × 16 inches (52.1 × 40.6

Underriver Hills, near Sevenoaks, Kent, from the Grounds of J. Herries, Esq., Samuel Palmer, 1805–1881, British, active in Italy (1837–39), ca. 1840, Watercolor, gouache, pen and black ink, and graphite on thick, slightly textured,

Study of Ancient Roman Millstone (?), Edward Francis Burney, 1760–1848, British, 1827, Watercolor, pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 11 3/4 × 7 5/8 inches (29.8 × 19.4 cm), architectural subject,

The Mask, Luigi Schiavonetti, 1765–1810, Italian, after Sir Joshua Reynolds RA, 1723–1792, British, 1790, Color printed etching and stipple engraving with hand coloring in watercolor on moderatley thick, slightly textured, cream wove

A Dance in Jamaica, Emeric Essex Vidal, 1791–1861, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 × 14 1/4 inches (25.4 × 36.2 cm

Aloe macrocarpa Todaro (Aloe): finished drawing without details, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 × 12 5/16 inches (40.5 ×

The Church of St. Magnus the Martyr, London Bridge, with the Monument in the Background, Thomas Shotter Boys, 1803–1874, British, 1832, Watercolor with pen in brown ink over graphite with gouache and arabic gum on medium, slightly textured,

Building a Stack (Study for Carrying Hay), attributed to Peter DeWint, 1784–1849, British, undated, Watercolor and white chalk and black chalk over graphite on medium, slightly textured, blue wove paper, Sheet: 6 7/8 x 10 3/8 inches (17.5 x

Calais Sands, François Louis Thomas Francia, 1772–1839, French, active in Britain, 1831, Watercolor and gouache over graphite on medium, smooth, cream wove paper, Sheet: 13 3/8 x 20 1/8 inches (34 x 51.1 cm), beach, coast, Costume,

From 'Charley's Hope' Mrs. Griffiths Place, Near Brunswick, New Jersey, Thomas Sully, 1783–1872, American, undated, Watercolor and graphite on medium, slightly textured, beige, wove paper, Sheet: 5 1/8 × 10 9/16 inches (13 × 26.8 cm

A Roman Lady with a Duenna, John Brown, 1749–1787, British, between 1775 and 1780, Pen and black ink, pen and gray ink, watercolor, and white gouache; verso: gray wash and graphite on medium, slightly textured, cream laid paper, Sheet:

Study of a Seated Woman, Henry Fuseli, 1741–1825, Swiss, active in Britain (1766–70; 1779 on), 1791, Graphite, pen, gray ink, gray wash, watercolor, gouache and black chalk on medium, slightly textured, cream laid paper, Sheet: 12

Goodwood, West Sussex: Ceiling Design, James Wyatt, 1746–1813, British, undated, Graphite, pen and black ink, and watercolor on moderately thick, moderately textured, cream laid paper, Sheet: 15 9/16 x 22 inches (39.5 x 55.9 cm) and

Caricature of a French military officer, Denis Dighton, 1792–1827, British, 1812, Watercolor, pen, and black ink on medium, moderately textured, cream wove paper, Sheet: 12 1/2 x 10 1/4 inches (31.8 x 26 cm), caricature, French,

The Inn Door (A Man escorted by two link boys to a door to the left), Thomas Rowlandson, 1756–1827, British, undated, Watercolor over graphite on moderately thick, moderately textured, blued white, laid paper, Sheet: 9 1/16 x 13 1/8 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

The First Book of Urizen, Plate 19, 'Stretch'd for a work of eternity . . . .' (Bentley 20), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly

View Near the City of Tientsin, William Alexander, 1767–1816, British, 1800, Watercolor, gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 9 x 14 5/16 inches (22.9 x 36.3 cm), architectural subject, boats,

Young's Night Thoughts, Page 37, 'Love, and love only, is the loan for love', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Barmouth Estuary with Cader Idris, North Wales, attributed to John Sell Cotman, 1782–1842, British, undated, Watercolor, pen and gray ink and graphite on medium, moderately textured, cream laid paper, Sheet: 6 1/4 x 12 inches (15.9 x 30.5

Study for the Portrait of a Military Officer, George Chinnery, 1774–1852, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 6 7/8 × 4 3/8 inches (17.5 × 11.1 cm), figures (representations),

Two Pointers, Facing Right with a Sportsman, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on thick, smooth, cream, wove paper, Sheet: 9 3/16 × 11 inches (23.3 × 27.9 cm), bush, dogs (animals), fields,

Bersted Lodge, September 21, 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),

Jerusalem, Plate 89, 'Tho divided by the Cross....', 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,

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Kirkland, Drumcroy, Auchenfloor, Cannee, Barhill and Silvercroigs, unknown artist, undated, Watercolor, gray wash, pen and black ink on slightly textured, moderately thick,

A Sailing Ship near Shore, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor and gouache over graphite on moderately thick, slightly textured, cream wove paper mounted on thick, smooth, beige card, Mount: 5 5/8 × 7 5/8

Pelecanus onocrotalus (Great White Pelican), James Bruce, 1730–1794, British, ca. 1769, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 21 × 14 inches (53.3 × 35.6 cm), animal art

The Water Spaniel, 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

Memorial to Thomas Gilmoore and Mrs. Elizabeth Gilmoore from Twickenham 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

The Stone Gatherers, Samuel Howitt, 1756–1822, British, undated, Watercolor and pen and black ink over graphite on slightly textured, medium, cream laid paper, laid down on contemporary wash mount, Sheet: 12 7/16 × 19 1/16 inches (31.6 ×

A Young Woman Looking Down, John Samuel Hayward, 1778–1822, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 4 × 3 3/4 inches (10.2 × 9.5 cm), dress, figure study, front, woman

Castle of Udolpho, Rev. William Warren Porter, 1776–1804, British, undated, Watercolor, graphite, and gray wash on medium, slightly textured, cream wove paper, Sheet: 10 5/8 × 16 inches (27 × 40.6 cm), architectural subject, castle,

Design for a Ceiling, George Richardson, ca.1738–ca.1813, British, undated, Watercolor with pen and black and gray ink on medium, slightly textured, cream laid paper, Sheet: 15 9/16 x 21 7/8 inches (39.5 x 55.6 cm), acanthus, angels,

James Boswell and His Family, John Thomas Smith, 1766–1833, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 5 × 5 7/8 inches (12.7 × 14.9 cm), children, family, hat, portrait

A Romantic Landscape, John Varley, 1778–1842, British, undated, Watercolor, brown wash and graphite; verso: watercolor and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 6 5/8 x 10 1/4 inches (16.8 x 26 cm),

Couple in a Farmyard, Paul Sandby RA, 1731–1809, British, 1782, Watercolor and pen with black and brown ink over graphite on very thick, beige, moderately textured wove paper, Sheet: 26 1/8 x 19 5/8 inches (66.4 x 49.8 cm), cattle,

The Swallow Packet, Or, A Belly full of good News, piping hot from Bristol, in spite of contrary Winds, (?) William Dent, active 1784–1793, 1792, Etching with watercolor on laid paper, Sheet: 7 7/8 x 10 3/4in. (20 x 27.3cm

Ambleside, Francis Towne, 1740–1816, British, 1786, Watercolor and brown and gray ink over graphite on medium slightly textured cream laid paper, Sheet: 9 1/4 x 6 1/8 inches (23.5 x 15.6 cm), hills, landscape, people, trees, village

View of Calcutta and its Environs, Sir Charles D'Oyly, 1781–1845, British, active in India, undated, Watercolor, graphite, white gouache, and gray wash on moderately thick, moderately textured, blue/gray, wove paper, Sheet: 7 1/16 ×

The West Indian Manatee, James Stewart, 1791–1863, British, ca. 1837, Watercolor, graphite, pen and gray ink on thick, smooth, cream, wove paper, Sheet: 5 1/8 × 7 13/16 inches (13 × 19.8 cm

Temple of Theseus, Athens, John Foster, ca. 1787–1846, British, ca. 1811, Watercolor with pen and brown ink over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 5/8 × 18 1/4 inches (29.5 × 46.4 cm),

Young Fisherman, William James Muller, 1812–1845, British, undated, Watercolor and gouache over graphite with gum arabic on moderately thick, moderately textured, cream wove paper, Sheet: 8 9/16 x 8 13/16 inches (21.7 x 22.4 cm),

Nature unveils herself to the infant Shakespeare: Thomas Gray, The Progress of Poesy, III.1, William Hamilton, 1751–1801, British, undated, Watercolor and gouache over graphite with scraping out on medium, slighlty textured, cream laid

The First Book of Urizen, Plate 27, 'They Lived a Period of Years . . . .' (Bentley 28), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly

Landscape Looking Through Ruined Archway, Thomas Sully, 1783–1872, American, undated, Watercolor, pen and brown ink, graphite and gouache on medium, moderately textured, cream, wove paper, Sheet: 10 1/2 × 8 15/16 inches (26.7 × 22.7

Portrait of a Man, George Chinnery, 1774–1852, British, between 1795 and1805, Watercolor and graphite on medium, slightly textured cream wove paper mounted to card, Sheet: 3 5/8 × 3 inches (9.2 × 7.6 cm), figure study, man

The First Book of Urizen, Plate 12, 'Los Smitten with Astonishment....' (Bentley 8), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly textured,

View of Parbati, a Hill near Poona Occupied by Temples frequented by the Peshwa, Attributed to Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, 1795, Watercolor, graphite and pen and brown ink on medium, slightly textured, cream laid

Ruins of the Ancient Palace of the Archbishops of Canterbury at Oxford, Kent, September 24, 1856, Charles West Cope, 1811–1890, British, 1856, Black chalk, watercolor and gouache on medium, slightly textured, brown wove paper, Sheet: 6

Design for Grosvenor House, London, Thomas Cundy, 1790–1867, British, 1829, Graphite, pen and red and brown ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 17 3/8 × 22 5/8 inches (44.1 × 57.5 cm),

Farmhouse with Children, Robert Polhill Bevan, 1865–1925, British, undated, Graphite and watercolor on thin, gray, smooth wove paper mounted on board, Sheet: 9 x 11 1/2 inches (22.9 x 29.2 cm) and Mount: 9 x 11 1/2 inches (22.9 x 29.2 cm),

La Palma, Alfred Diston, active 1818–1829, undated, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, Sheet: 8 7/8 × 6 7/8 inches (22.5 × 17.5 cm), costume, figure study, genre subject

A Boatload, John Crome, 1768–1821, British, undated, Watercolor, with pen, in brown ink on medium, slightly textured, cream, wove paper, Contemporary drawn border: 6 × 10 1/8 inches (15.2 × 25.7 cm) and Sheet: 4 7/8 × 9 1/16 inches

Abu Fodde, 4:00 pm, 4 March 1867 (594), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on thick, rough, cream wove paper, Sheet: 3 3/8 × 6 7/8 inches (8.6 × 17.5 cm), cliffs, landscape, river,

Boats on the Nile, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on moderately thick, slightly textured, blue wove paper, Sheet: 4 1/16 x 6 1/16 inches (10.3 x 15.4 cm), boats, figures

Figures in a Rocky Romantic Landscape, Robert Adam, 1728–1792, British, 1787, Watercolor and graphite on medium, beige, rough laid paper mounted on medium, cream, slightly textured laid paper, Sheet: 5 3/4 x 9 1/4 inches (14.6 x 23.5 cm)

Village of Friendly Indians at the Entrance of Buter Canal near Hanover, 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

A Gentleman, full length, Holding a Paper and Pencil, Samuel De Wilde, 1748–1832, British, 1795, Watercolor, graphite, and colored pencil on medium, slightly textured, cream laid paper, Sheet: 14 5/8 × 9 inches (37.1 × 22.9 cm),

A View from Peterborough Tower at Tangier, Wenceslaus Hollar, 1607–1677, Bohemian, 1669, Graphite, pen and brown ink, gray wash, brown wash, and watercolor on medium, slightly textured, cream wove paper, Sheet: 8 × 24 3/8 inches (20.3

The Doreathea Nipped in the Ice off Spitzbergen, North View, 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 ×

Chandernagore, West Bengal, Samuel Davis, 1757–1819, British, undated, Watercolor, pen and black ink, gray wash and graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 15 × 21 5/8 inches (38.1 × 54.9 cm),

Unidentified Fish, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 1/4 inches (41.3 cm) and Sheet: 16 × 12 1/2 inches (40.6 × 31.8 cm), animal

Jerusalem, Plate 1, Frontispiece, Print made by William Blake, 1757–1827, British, 1804 to 1820, Relief etching printed in orange with pen and black ink, watercolor, and gold on moderately thick, smooth, cream wove paper, Sheet: 13 1/2

Memorial to Mrs. Trevelyan from Heston 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, Sheet: 14 7/8 ×

North West view of Charlton House, Kent; The Seat of Lady Wilson, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1815, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet:

Conjurer with Pistol and Cards, George Cruikshank, 1792–1878, British, ca. 1826, Pen and brown ink, black ink, watercolor, and graphite on medium, slightly textured, cream wove paper, Sheet: 5 3/16 × 7 5/8 inches (13.2 × 19.4 cm),

Dagnall Lane, St. Albans, William Henry Hunt, 1790–1864, British, ca. 1820, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 9 1/4 x 11 5/8 inches (23.5 x 29.5 cm), agriculture, architectural

A Calm, Print made by John Boydell, 1720–1804, British, after Charles Brooking, 1723–1759, British, Published by John Boydell, 1720–1804, British, 1754, Etching and line engraving, hand colored with watercolor on moderately thick,

From Window at Eastnor Castle, Gloucestershire Beacon, September 28, 1829, Anne Rushout, ca. 1768–1849, British, 1829, Watercolor on moderately thick, slightly textured, cream wove paper

Rocky Landscape with Peasants and Cattle, Samuel Hieronymus Grimm, 1733–1794, Swiss, 1773, Watercolor with black ink over graphite on medium, slightly textured, cream laid paper, Sheet: 14 1/8 x 11 1/4 inches (35.9 x 28.6 cm), cattle,

Vauxhall Stairs, from Millbank, July 5, 1797, Francis Towne, 1740–1816, British, 1797, Watercolor, with pen, in brown ink, black ink, and graphite on medium, slightly textured, cream, laid paper, Mount: 9 9/16 × 11 inches (24.3 ×

Jerusalem, Plate 19, 'His children exil'd from his breast....', 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

Boats on the Nile, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on moderately thick, moderately textured, brown wove paper, Sheet: 2 1/16 x 10 3/8 inches (5.2 x 26.4 cm), boats, figures

Memorial to Jacob Augustus Blondel from Stepney 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, Sheet:

Songs of Innocence and Experience, pl. 13: 'Spring' pl. 2, 'Little Girl...', unknown artist, after William Blake, 1757–1827, British, ca. 1808, Watercolor with pen and brown ink

America. A Prophecy, Plate 11, 'Sound! Sound! My Loud War-Trumpets....', Print made by William Blake, 1757–1827, British, 1793, Color-printed relief etching in green-black with pen and black ink and watercolor on moderately thick, slightly

An Iceberg and Polar Bear Shot at by Captain Ross, 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

Edfu, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and cochineal ink on medium, slightly textured, beige, wove paper, mounted on thick, slightly textured, cream wove paper, Sheet: 2 7/16 x 6 1/16 inches (6.2 x 15.4

Erne River, Ireland, Edward Thompson Davis, 1833–1867, British, undated, Watercolor, pen and brown ink over graphite on medium, moderately textured, cream wove paper, Sheet: 4 3/4 × 6 7/8 inches (12.1 × 17.5 cm), boat, clouds,

Well in Lahore, 18 March 1860, William Simpson, 1823–1899, British, 1860, Graphite; verso: graphite and watercolor on medium, smooth, cream wove paper, Sheet: 4 × 5 7/8 inches (10.2 × 14.9 cm) and Binding: 4 1/4 inches (10.8 cm), animal

Man Kneeling, George Smith, active 1836, 1836, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 11 × 7 7/8 inches (27.9 × 20 cm

Sandham, Isle of Wight, William P. Sherlock, c.1780–1850, undated, Pen and ink, watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 8 7/8 x 11 5/8in. (22.5 x 29.5cm) and Sheet: 9 × 11 5/8 inches (22.9 × 29.5

The Poems of Thomas Gray, Design 87, 'The Triumphs of Owen.', 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

Building of a Cutter, Benjamin Thomas Pouncey, active 1772–1799, British, after John Kitchingman, c. 1740–1781, British, 1783, Engraving with watercolor, Sheet: 9 x 12in. (22.9 x 30.5cm

Deir Kadige, noon., January 2, 1867 (27), Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 3 1/2 x 10 inches (8.9 x 25.4 cm), boats,

The Imperial Quixote and Generalissimo Sancho's Grand, Joyfull and Triumphant return to Germany after the Conquest of France, (?) William Dent, active 1784–1793, 1792, Etching with watercolor on laid paper, Sheet: 8 1/2 x 15in. (21.6 x

Ruins at Pergamon, Probably of the Amphitheatre, Giovanni Battista Borra, 1713–1770, Italian, ca. 1750, Watercolor with black ink over graphite on moderately thick, moderately textured, cream laid paper with gray wash, Sheet: 14 15/16 x 21

Milton's Mulberry Tree, Christ's College Gardens, Cambridge, Richard Banks Harraden, 1778–1862, British, undated, Watercolor, black chalk, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/2 × 16 7/8

A View on the Brathay near Ambleside, Anthony Vandyke Copley Fielding, 1787–1855, British, undated, Watercolor, graphite and pen and black ink on thick, moderately textured, beige, wove paper, Sheet: 7 × 10 1/8 inches (17.8 × 25.7 cm),

A Hawk, James Sowerby, 1756–1822, British, undated, Watercolor, gouache, and graphite on moderately think, moderately textured, cream wove paper, Sheet: 16 1/2 × 9 11/16 inches (41.9 × 24.6 cm), animal art, branch, Eurasian

A Group of Trees, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray ink on medium, slightly textured, cream, laid paper, mounted on thick, rough, cream, wove paper, Sheet: 10 7/8 x 15 7/8 inches (27.6 x 40.3

The Mosque at Juanpore Built by Sultan Hussain Sherki, Taken in December 1789, Thomas Daniell, 1749–1840, British, active in India, and William Daniell, 1769–1837, British, Formerly Attributed to Samuel Davis, 1757–1819, British,

Dunmose, West by North (one of five drawings on one mount), John Thomas Serres, 1759-1825, British, undated, Watercolor, graphite and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 3 x 10 1/4 inches (7.6 x 26 cm)

Side View of Corvette, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, with pen, in gray ink, gray wash and graphite on thick, rough, beige, wove paper, mounted on, moderately thick, slightly textured, beige, wove

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