Images at Librifly

search results: Watercolor clear search

Side View of Single Barque, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, pen and black ink, brown ink, gray ink and graphite on thick, rough, beige, wove paper, mounted on, moderately thick, smooth, beige, wove

Tomb of Mrs. Susannah Thomas and Dame Dorothy Thomas from Hampton 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,

Ram Head, North by West (2 miles distance), John Thomas Serres, 1759-1825, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 2 1/2 x 8 1/2 inches (6.4 x 21.6 cm) and Image: 1 1/4 x 7 1/2 inches

Still Life: A Jug, George Jackson, active 1839–1844, undated, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 8 3/4 × 7 1/16 inches (22.2 × 17.9 cm), jug, still life, table

Sketch of Robin Hood, Richard Dadd, 1817–1886, British, 1852, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 14 1/8 x 10 1/8 inches (35.9 x 25.7 cm), archer, archery, arrow, bows (weapons), dog

Portuguese Man (Madeira), January 1868, unknown artist, nineteenth century, 1868, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 10 × 7 inches (25.4 × 17.8 cm), figure study, man, Portuguese

The Pool of Bethesda, Attributed to John Martin, 1789–1854, British, undated, Watercolor, pen and brown ink, white gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 2 1/8 x 2 3/4 inches (5.4 x 7 cm), arches,

Entrance to Calais Harbour, David Cox, 1783–1859, British, ca. 1829, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 7 3/8 × 11 inches (18.7 × 27.9 cm), boat, figures (representations), marine art,

Holkham, August 1824, Anne Rushout, ca. 1768–1849, British, 1824 to 1832, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 10 1/2 inches (17.8 × 26.7 cm

Foxhunting: The Meet, Henry Thomas Alken, 1785–1851, British, 1822, Graphite and watercolor on medium, slightly textured, beige, wove paper, Sheet: 9 7/16 × 26 7/8 inches (24 × 68.2 cm

One of Five Ceiling Designs, John Sanderson, active 1730–died 1774, British, undated, Watercolor, pen and black ink and graphite on medium, slightly textured, beige wove paper, Sheet: 4 x 6 13/16 inches (10.2 x 17.3 cm), architectural

Theatrical Scene, Nathaniel Dance RA, 1735–1811, British, after 1804, Pen, ink, watercolor, wash, and graphite on medium, slightly textured, cream laid paper, Sheet: 7 1/4 x 12 1/8 inches (18.4 x 30.8 cm), drama, genre subject, horn

Stag, Doe and Fawns, Samuel Howitt, 1756–1822, British, undated, Watercolor and pen and black ink over graphite on moderately thick, moderately textured, cream wove paper, Sheet: 4 3/4 × 6 3/8 inches (12.1 × 16.2 cm), animal art, doe,

Country Scene: Figures by a Cottage Door and Cattle in a Stream, Francis Wheatley, 1747–1801, British, 1795, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 9 7/8 x 10 3/4 inches (25.1 x 27.3 cm) and Contemporary drawn

Songs of Innocence and of Experience, Plate 25, 'The Voice of the Ancient Bard' (Bentley 54), 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

Off Whitby, Edward Duncan, 1803–1882, British, 1870, Watercolor, with pen, in brown ink, graphite, gouache and scratching out on moderately thick, slightly textured, cream, wove paper, mounted on, very thick, slightly textured,

Ruins at Capua, Carlo Labruzzi, 1748–1817, Italian, undated, Watercolor over graphite on medium, moderately textured, cream laid paper, Sheet: 15 1/8 × 12 1/2 inches (38.4 × 31.8 cm), architectural subject, Grand Tour, landscape,

Cabrita Point - Rock of Gibraltar, George Lothian Hall, 1825–1888, British, 1843, Watercolor over graphite with scraping out on thick, moderately textured, cream wove paper, Sheet: 6 1/4 × 10 inches (15.9 × 25.4 cm), landscape, marine

The Canterbury-Dover Coach Passing Vanbrugh Castle, Thomas Rowlandson, 1756–1827, British, between 1795 and 1800, Watercolor, in pen with brown ink and gray ink, over graphite on medium, slightly textured, blued white, wove paper, Sheet:

Section of a Wheel for Elevating Water, William Alexander, 1767–1816, British, undated, Watercolor and gray ink over graphite on medium, smooth, cream wove paper, Sheet: 9 1/2 x 4 1/8 inches (24.1 x 10.5 cm), architectural subject,

Tryfan, Carnarvonshire, George Fennell Robson, 1788–1833, British, 1826, Watercolor, gouache and scraping out on thick, moderately textured, cream wove paper, Sheet: 18 1/4 x 29 15/16 inches (46.4 x 76 cm), horse (animal), lake,

Valley of Stones, Lynton, Devon, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, with pen and red and gray-brown ink; verso: graphite on medium, slightly textured, beige wove paper, Mount: 8 3/8 x 12 3/16 inches (21.3 x 31

Memorial to Anna and WIlliam Heigham 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, Sheet: 14 3/4 ×

Story of *Nell's Coach made good by the Cunning Man. Addressed to the Ducal Conjurer and Dutchess of chamber pot *in The Devil to Pay., William Dent, active 1784–1793, 1791, Etching with watercolor on laid paper, Sheet: 9 1/4 x 15 1/2in. (23.5

Henry James William Ward, Son of the Artist, James Ward, 1769–1859, British, undated, Watercolor and graphite on medium, slightly textured, beige laid paper, Sheet: 3 1/2 x 2 3/4 inches (8.9 x 7 cm) and Contemporary drawn border: 5 x 4 1/8

Foliage, Richard Pettigrew Leitch, active 1870, ca. 1870, Watercolor; verso: graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 × 7 inches (12.7 × 17.8 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

Crowd by a Gibbet, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown ink, over graphite on medium, smooth, beige, wove paper, mounted on heavy board, Sheet: 6 x 8 3/8 inches (15.2 x 21.3 cm), crowd, death,

Oriolus monacha (Black Headed Abyssinian Oriole), 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

Carlton House from Pall Mall, Michael 'Angelo' Rooker, 1746–1801, British, 1782, Watercolor, pen and black ink, gray ink and graphite on medium, moderately textured, blued white, laid paper, Sheet: 7 1/4 x 11 1/4 inches (18.4 x 28.6 cm),

Princess Charlotte's Monument, Coburg Bay, Cape Leopold, 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

The Artist Assaulted by Time, Ignorance and Envy, Mauritius Lowe, 1746–1793, British, between 1772 and 1790, Watercolor, graphite, and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 8 3/8 x 10 5/8 inches (21.3 x

The Brown Bear, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, graphite, pen and brown ink on mediium, smooth, cream, wove paper, Sheet: 4 5/16 × 6 3/4 inches (11 × 17.1 cm

A Cavern on the South Sands, Tenby, unknown artist, nineteenth century, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 8 5/8 × 11 1/8 inches (21.9 × 28.3 cm), cavern, landscape, rocks

Cobham Hall, Kent: Section and Ceiling Plan of the Dairy, James Wyatt, 1746–1813, British, 1795, Graphite, pen and black ink and watercolor on moderately thick, moderately textured, cream laid paper with two fold marks, Sheet: 13 1/2 ×

Exeter Cathedral and neighboring buildings, Edward Dayes, 1763–1804, British, undated, Watercolor, pen and black ink and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 5 3/8 × 8 1/2 inches (13.7 × 21.6 cm),

City of Lin Tsin, Shantung, with a View of the Grand Canal, William Alexander, 1767–1816, British, 1795, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/4 × 17 1/2 inches (28.6 × 44.5 cm),

Erlestoke House and Park, unknown artist, nineteenth century, Possibly John Buckler FSA, 1770–1851, British, ca. 1825, Watercolor with pen and brown ink, and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 9

Hypatia Teaching at Alexandria, Robert Trewick Bone, 1790–1840, British, undated, Watercolor and brown ink on medium, moderately textured, cream, wove paper mounted on mediuim, moderately textured, cream, wove paper, Mount: 13 3/4 × 19

Belvoir Castle, Rutland, William Daniell, 1769–1837, British, undated, Watercolor and graphite, with scraping on moderately thick, slightly textured, cream wove paper, Sheet: 4 3/8 x 6 3/4 inches (11.1 x 17.1 cm), architectural subject,

Portrait of a Gentleman, John Singleton Copley, 1738–1815, American, active in Britain (from 1776), undated, Gouache and watercolor on ivory, Image: 1 1/4 x 1 inches (3.2 x 2.5 cm) and Frame: 1 3/8 x 1 1/8 x 1/8 inches (3.5 x 2.9 x 0.3 cm),

Sketchbook, Barbara Bodichon, 1827–1891, British, 1861, Watercolor on thick, moderately textured, cream wove paper, Spine: 5 1/4 inches (13.3 cm) and Sheet: 5 x 7 inches (12.7 x 17.8 cm

Girl Sewing, 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 on moderately thick,

Asinus Onager Horse, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink and graphite on medium, smooth, cream, wove paper, Sheet: 3 7/8 × 6 1/2 inches (9.8 × 16.5 cm), animal art

The Bridge and Castle at Rochester, Jonathan Skelton, active 1754, died 1758, British, 1757, Watercolor on slightly textured, medium, cream laid paper, Sheet: 9 3/16 × 23 1/2 inches (23.3 × 59.7 cm

Lima, Godfrey Thomas Vigne, 1801–1863, British, 1850, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 10 × 14 inches (25.4 × 35.6 cm), bridge (built work), buildings, cityscape, figures, sunset

Modern Bridge at Narni, Francis Towne, 1740–1816, British, 1795, Watercolor and brown ink over graphite on medium, slightly textured, cream laid paper, Sheet: 8 1/4 x 11 3/4 inches (21 x 29.8 cm), bridge (built work), clouds, Grand Tour,

Views in the Levant: Study of a Woman Wearing Turkish Costume, Willey Reveley, 1760–1799, British, ca. 1785, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream, laid paper, mounted on moderately thick,

A Rifleman at Musketry Practice, John Augustus Atkinson, 1775–1831, British, undated, Pen and black ink, Pen and brown ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 4 1/2 × 3 1/8 inches (11.4 × 7.9 cm),

Cutting Mistletoe from it by the Druids, Julius Caesar Ibbetson, 1759–1817, British, undated, Pen and brown ink and watercolor on medium, slightly textured, cream wove paper, Sheet: 2 3/8 × 3 inches (6 × 7.6 cm), kneeling, men,

Venice: The Grand Canal and Rialto, John Frederick Lewis, 1804–1876, British, 1838, Watercolor, white gouache, pen and black ink and graphite on medium, slightly textured, beige wove paper, Sheet: 7 5/8 x 10 3/8 inches (19.4 x 26.4 cm),

Young's Night Thoughts, Page 19, 'Emblem of that which shall awake the dead', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Coast Scene with Figures, John Thomas Serres, 1759–1825, British, 1808, Watercolor, black ink, and graphite on medium, slightly textured, cream wove paper mounted on moderately thick, slightly textured, cream wove paper, Sheet: 6 1/8 ×

Halfway House, Sadler's Wells, Paul Sandby RA, 1731–1809, British, 1780, Gouache, watercolor, pen and black ink with varnish on medium, slightly textured, cream wove paper, Sheet: 10 1/2 x 11 inches (26.7 x 27.9 cm) and Mount: 11 3/8 x

Studies of Horses, James Ward, 1769–1859, British, undated, Watercolor and brown ink over graphite on medium, slightly textured, cream wove paper, Sheet: 4 1/8 x 4 7/8 inches (10.5 x 12.4 cm), animal art, horses (animals), studies

Memorial to Emma Horatia Lisle from Hampton Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink and watercolor ever graphite on medium, slightly textured, cream wove paper, Sheet: 14 5/8 × 10 3/4 inches

Jedburgh Abbey, Roxburghshire, Thomas Girtin, 1775–1802, British, ca. 1793, Watercolor over graphite, and gray wash on moderately thick, slightly textured, beige, wove mount paper, Sheet: 6 5/8 x 8 9/16 inches (16.8 x 21.7 cm) and Mount:

A Chinese Man, unknown artist, (German?), after William Alexander, 1767–1816, British, undated, Watercolor and black ink over graphite on moderately thick, moderately textured, blued white laid paper, Sheet: 6 1/2 × 4 1/4 inches (16.5 ×

Phlomis herba-venti L. : finished drawing, James Bruce, 1730–1794, British, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet: 21 × 14 1/2 inches (53.3 × 36.8 cm

Perspective for a Church Interior, George Edmund Street, 1824–1881, British, undated, Pen, black ink and graphite with watercolor and gouache on thick, moderately textured, cream laid paper, Sheet: 12 × 11 5/8 inches (30.5 × 29.5 cm),

Landscape with Ruined Castle, Trees, Thomas Sully, 1783–1872, American, undated, Watercolor and graphite on medium, moderately textured, beige, wove paper, Sheet: 6 13/16 × 8 5/8 inches (17.3 × 21.9 cm

Pluscardine Abbey, Elgin, Thomas Girtin, 1775–1802, British, ca. 1793, Watercolor with pen in brown and black ink with rubbing, over graphite on moderately thick, moderately textured, beige, wove paper mount, Sheet: 8 9/16 x 6 5/8 inches

Jerusalem, Plate 62, 'Repose on me....', 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 1/2 x

The Poems of Thomas Gray, Design 113, '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

Jerusalem, Plate 65, 'To decide Two Worlds....', 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:

Pity, Print made by William Blake, 1757–1827, British, ca. 1795, Color monotype with pen and black ink and watercolor, varnished on moderately textured wove paper, Sheet: 16 1/4 x 20 1/4 inches (41.3 x 51.4 cm), angels, children,

Sketches from Life in Paris: Woman and Man Carrying Buckets, Ambrose Poynter, 1796–1886, British, ca. 1835, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 3 15/16 × 5 5/16 inches (10 × 13.5 cm), buckets,

Neophron percnopterus (Egyptian Vulture), James Bruce, 1730–1794, British, undated, Watercolor over graphite on moderately thick, moderately textured, cream, laid paper, Sheet: 14 × 18 inches (35.6 × 45.7 cm), animal art

Staple Inn, Samuel Ireland, active 1760–died 1800, British, 1800, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 4 7/8 × 6 1/2 inches (12.4 × 16.5 cm) and Mount: 9 × 12 1/2

The Bride, Print made by Henry Ryall, 1811–1867, British, after Alfred Edward Chalon, 1780–1860, British, undated, Engraving with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 7 9/16 × 5 3/16

Brass Plated for Elizabeth Harvey from East Ham 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

North East View of Burton Agnes, Yorkshire; the Seat of Sir Francis Boynton Bart., John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1818, Watercolor and pen and black ink on moderately thick, cream

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 Spangled Cock, Joseph Crawhall, 1861–1913, British, 1903, Watercolor heightened with gouache on linen mounted on panel, Sheet: 17 11/16 x 23in. (44.9 x 58.4cm) and Frame: 25 3/8 × 30 9/16 × 1 5/8 inches (64.5 × 77.7 × 4.1 cm), animal

Illustrations from Mr. Lambkin, plate 19, Print made by George Cruikshank, 1792–1878, British, undated, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

Study of Rocks, near Pencerrig, Wales, Thomas Jones, 1742–1803, British, active in Italy (1776–83), ca. 1796, Watercolor on medium, moderately textured, cream laid paper, Sheet: 6 1/4 x 8 inches (15.9 x 20.3 cm), landscape, rocks

Design for a Chapel at Enfield: Transverse Sections, East and West End, Lewis Vulliamy, 1791–1871, British, undated, Pen and black ink with watercolor on moderately thick, slightly textured, beige wove paper, Sheet: 12 7/16 x 18 7/16

Salahiyeh, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, blue wove paper, mounted on thick, moderately textured, cream wove paper, Sheet: 3 7/16 x 9 inches (8.7 x 22.9 cm),

An Encampment in St. James Park, Paul Sandby RA, 1731–1809, British, ca. 1780, Watercolor, graphite, and pen and brown ink on medium, slighlty textured, cream wove paper, Sheet: 11 7/8 x 17 7/8 inches (30.2 x 45.4 cm), clouds,

Between Ibreem and Wady Halfeh, 3.15 pm, 2 February 1867 (330), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and brown ink over graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/2 × 6 inches (8.9 × 15.2

Driving sheep to market, Anthony Devis, 1729–1817, British, undated, Watercolor, pen and black ink, and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 5 3/8 × 8 inches (13.7 × 20.3 cm), burro, fence, genre

From Window at Cadland, September 24, 1824, Anne Rushout, ca. 1768–1849, British, 1824, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 10 1/2 inches (17.8 × 26.7 cm

Entrance to Peak Cavern, or Devil's Hole, Castleton..., George Cumberland, 1754–1848, British, undated, Watercolor and graphite on moderately thick, sightly textured, cream wove paper, Sheet: 5 7/8 × 8 3/4 inches (14.9 × 22.2 cm),

A Sepoy Sargent in a Compound, Samuel Davis, 1757–1819, British, undated, Watercolor, graphite, pen, and black ink on thick, slightly textured, cream laid paper, Sheet: 9 5/8 x 14 7/8 inches (24.4 x 37.8 cm), architectural subject,

El Areesh, 6:30 pm, 31 March 1867 (33), Edward Lear, 1812–1888, British, 1867, Watercolor, pen and gray ink, and graphite on medium, slightly textured, gray wove paper, Sheet: 3 1/8 x 9 inches (7.9 x 22.9 cm), camel (mammal), evening,

Alnwick Keep, William Beilby, 1740–1819, British, undated, Pen and black ink and watercolor on medium, slightly textured, cream laid paper, Sheet: 8 3/8 × 10 3/4 inches (21.3 × 27.3 cm), architectural subject, castle, flag, keep,

The Rabbit, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, graphite, pen and brown ink on medium, slightly textured, white, wove paper, Sheet: 4 1/16 × 6 1/2 inches (10.3 × 16.5 cm), animal art

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, undated, Graphite, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 13 1/2 × 17 inches (34.3 × 43.2 cm) and Image: 6 1/4 × 10

The Fox Hound, 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 Chinese Beggar, William Alexander, 1767–1816, British, undated, Watercolor and pen and gray ink over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 1/2 x 5 1/2 inches (19.1 x 14 cm), beggar, calligraphy,

A Distant View of Ampthill Park, George Shepherd, active 1782–1830, 1825, Watercolor on thick, slightly textured, cream wove paper, Sheet: 10 1/2 × 15 1/2 inches (26.7 × 39.4 cm), architectural subject

Unidentified Office or Stables: Front Elevation, James Gibbs, 1682–1754, British, ca. 1720, Watercolor with pen and ink and graphite on medium, slightly textured, white laid paper bar scale of 1/10 inch to 1 foot, Sheet: 8 1/8 x 14 1/2

Port Mahon, Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–45), between 1756 and 1773, Pen and black ink, pen and brown ink, brown wash, gray wash, watercolor and graphite on medium, slightly textured, blued

The First Book of Urizen, Plate 14 (Bentley 14), 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

The Pont de la Concorde and Tuileries Palace from the Cours la Reine, François Louis Thomas Francia, 1772–1839, French, active in Britain, 1823, Watercolor and brown ink and gouache over graphite on medium, smooth, cream wove paper,

Reclining Female Nude, William Edward Frost, 1810–1877, British, after 1845, Watercolor with reed pen and brown ink on medium, slightly textured, beige wove paper, Sheet: 4 1/2 × 7 inches (11.4 × 17.8 cm), figure study, nude, pose,

Brook End, Essex, Paul Sandby RA, 1731–1809, British, between 1795 and 1809, Watercolor, graphite and gouache on medium, slightly textured laid paper, Sheet: 6 3/8 x 8 inches (16.2 x 20.3 cm), brook, end, fences, gates, geese,

A Horse Sale in Hopkins's Repository, Barbican, Thomas Rowlandson, 1756–1827, British, between 1798 and 1800, Watercolor, pen and black ink, and gray ink on moderately thick, slightly textured, cream, wove paper, Mount: 13 1/8 x 17

Design for Little Frogmore: Elevation, James Wyatt, 1746–1813, British, 1791, Watercolor, gray wash, pen and black and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 23 1/2 x 18 inches (59.7 x 45.7 cm),

Warbler: Reed Wren, William Lewin, 1747–1795, British, before 1790, Watercolor, gouache, graphite and pen and black ink on medium, smooth, white vellum, Sheet: 8 1/8 × 6 5/8 inches (20.6 × 16.8 cm), animal art, bird, branch, perch,

search results: Watercolor clear search