Images at Librifly

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Design for a Chapel at Enfield: Transverse Sections of the 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 5/8 x 18 9/16

The Devil's Bridge, Aberystwyth, Rev. Charles Annesley, 1787–1863, British, undated, Watercolor and pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 13 1/2 x 10 inches (34.3 x 25.4 cm), architectural subject,

A Terrier Sitting, Looking Up to Right, William Henry Hunt, 1790–1864, British, undated, Watercolor and graphite on moderately thick, moderately textured, beige wove paper, Sheet: 4 9/16 × 4 7/8 inches (11.6 × 12.4 cm), animal art

North East View of Harlaxton Manor House, Lincolnshire, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1817, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet: 14 × 19

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1834, Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 13 1/2 × 17 inches (34.3 × 43.2 cm) and

Rag Fair or Rosemary Lane, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, pen and red-brown and gray ink over graphite on medium, slightly textured, blued white laid paper, Sheet: 7 1/4 x 5 inches (18.4 x 12.7 cm), building,

Headfort House, Ireland: Saloon Ceiling, Robert Adam, 1728–1792, British, 1772, Graphite, watercolor, pen and black and brown ink on moderately thick, moderately textured, cream laid paper mounted on linen bar scale given, Sheet: 19 7/16

Elevation of the Ordnance Office, unknown artist, after William Tyler RA, d.1801, British, after 1780, Watercolor with gouache and black ink on moderately thick, moderately textured, cream wove paper, Sheet: 13 11/16 x 21 9/16 inches (34.7 x

Bevere House near North Claines, Worcestershire, Moses Griffith, 1747–1819, British, ca. 1780, Watercolor with pen and black ink over graphite on medium, cream, slightly textured laid paper, Sheet: 13 5/8 x 19 1/4 inches (34.6 x 48.9 cm),

Job and His Wife Restored to Prosperity, 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: 3 1/2 x 4

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Back, Gata and North, Milton, unknown artist, nineteenth century, undated, Graphite, watercolor, gray wash, pen and black ink on slightly textured, moderately thick, cream

One from Views in Saxony, France, Spain, Reba, Italy, Sicily..., Sir Richard Colt Hoare, 1758–1838, British, John Warwick Smith, 1749–1831, British, ca. 1817, Watercolor and black ink over graphite on wove paper, Sheet: 11 1/4 x 14

Studies of Figures, James Ward, 1769–1859, British, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 4 5/8 x 7 1/4 inches (11.7 x 18.4 cm) and Contemporary drawn border: 5 5/8 x 8 1/8 inches (14.3 x

In the Valley Near Vietri, Joseph Mallord William Turner, 1775–1851, British, ca. 1794, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 7 x 9 1/8 inches (17.8 x 23.2 cm), clouds, country (rural landscape),

Abutilon Longicuspe, Luigi Balugani, 1737–1770, Italian, undated, Graphite and watercolor on medium, slightly textured, beige laid paper, Sheet: 8 3/4 × 7 5/8 inches (22.2 × 19.4 cm), flowers (plants

Bolt Head, South East, 1/2 South (4 or 5 miles), John Thomas Serres, 1759-1825, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 2 7/8 x 8 1/2 inches (7.3 x 21.6 cm) and Image: 1 1/2 x 7 3/4

Devil's Bridge, Saint Gotthard's Pass, Joseph Mallord William Turner, 1775–1851, British, ca. 1804, Watercolor, white wax crayon and scraping out on moderately thick, moderately textured, cream wove paper, Sheet: 41 5/8 x 29 7/8 inches

Lincoln's Inn Hall and Chapel, Samuel Ireland, active 1760–died 1800, British, 1800, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream wove paper, Sheet: 5 × 7 inches (12.7 × 17.8 cm) and Mount: 9

Illustrations from Mr. Lambkin, plate 9, Print made by George Cruikshank, 1792–1878, British, undated, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

The Vicar of Wakefield: Frontispiece, Thomas Rowlandson, 1756–1827, British, 1817, Watercolor, with pen and red-brown ink; verso: graphite on medium, smooth, blued white, wove paper, Sheet: 6 1/2 x 4 5/8 inches (16.5 x 11.7 cm), bonnets

Shrubland Hall, Suffolk: Elevation, James Paine, 1717–1789, British, ca. 1770, Graphite, pen and black ink, gouache and watercolor on medium, slightly textured, cream laid paper, Sheet: 12 1/2 × 21 5/8 inches (31.8 × 54.9 cm),

Portrait of Sir Edwin Landseer, R.A. at his Easel, Richard Bagot, 19th century, undated, Graphite and watercolor on medium, slightly textured, cream wove paper, Sheet: 9 1/4 × 7 3/8 inches (23.5 × 18.7 cm), portrait

A Foliated Branch, James Ward, 1769–1859, British, undated, Watercolor and graphite on medium, smooth, cream laid paper, Sheet: 7 7/8 x 6 1/4 inches (20 x 15.9 cm), botanical subject, botany, branch, landscape, plants, woody,

Memorial to Lord and Lady Latimer and Tomb of the children Ralph, Katherin, Ralph, Dorothye, Jane, Margaret and Anne from East Ham Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and

A River Scene, William Ellis, 1747–1810, British, 1831, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 9 3/4 × 17 5/8 inches (24.8 × 44.8 cm), clouds, landscape, river, towns

Evading the Toll, Thomas Rowlandson, 1756–1827, British, between 1805 and 1810, Watercolor, pen and black ink, gray ink, brown ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 6 3/8 x 9 1/8 inches (16.2 x 23.2

Castle of Schrecstein on the Elbe, Sir Richard Colt Hoare, 1758–1838, British, John Warwick Smith, 1749–1831, British, ca. 1817, Watercolor and black ink over graphite on wove paper, Sheet: 11 1/4 x 14 7/16in. (28.6 x 36.7cm), Elbe,

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

Hastings, William Day, 1764–1807, 1792, Watercolor, with pen, in brown ink and graphite on moderately tthick, moderately textured, blued white, laid paper, Sheet: 13 3/8 × 18 3/4 inches (34 × 47.6 cm

Flounder's Monument From the Race Course, Ludlow, Augustine Aglio the younger, 1816–1885, British, undated, Watercolor over graphite on medium, moderately textured, cream, wove paper, mounted on moderately thick, white, slightly

Patagonian Parakeet Macaw, unknown artist, nineteenth century, after Edward Lear, 1812–1888, British, 1832, Watercolor and pen and black ink on beige board, Sheet: 18 × 14 inches (45.7 × 35.6 cm), animal art

Wrestling, Charles Turner, 1774–1857, British, 1810, Watercolor over etched outline on moderately thick, moderately textured, blued white, wove paper, Mount: 11 5/8 × 14 3/4 inches (29.5 × 37.5 cm), Contemporary drawn border: 8 9/16 ×

The Bayswater Turnpike, Thomas Hearne, 1744–1817, British, undated, Watercolor, pen and black ink, gouache, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/8 x 14 1/8 inches (28.3 x 35.9 cm), cart,

Three Cart-Horses in Traces, attributed to Peter DeWint, 1784–1849, British, undated, Watercolor with pen, in brown ink on medium, slightly textured, cream, wove paper, Sheet: 4 5/8 x 9 7/8 inches (11.7 x 25.1 cm), animal art,

View of Baron Hill, Anglesey, Wales, Moses Griffith, 1747–1819, British, 1776, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 10 3/16 x 17 1/2in. (25.9 x 44.5cm) and Sheet: 11 1/2 × 18 3/4 inches (29.2 ×

View in Borrowdale of Eagle Crag and Rosthwaite, Francis Towne, 1740–1816, British, undated, Watercolor with pen and brown ink and pen and gray ink on medium, slightly textured, cream laid paper, Sheet: 8 3/8 x 13 1/4 inches (21.3 x 33.7

A House of Assembly, Quebec: Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1812, Watercolor, pen and black ink on slightly textured, medium, white wove paper bar scale of 1/14 inch to 1 foot, Sheet: 12 13/16 × 17 7/8

Old Courthouse Street on Tank Square, Sir Charles D'Oyly, 1781-1845, British, active in India, undated, Watercolor, with pen, in gray ink, and graphite on thick, moderately textured, beige, wove paper, Sheet: 4 7/16 x 22 1/2 inches (11.3

St. Paul's, David Roberts, 1796–1864, British, 1862-1863, Watercolor, gouache and graphite on moderately thick, moderately textuerd, beige, wove paper, Sheet: 9 3/4 × 13 9/16 inches (24.8 × 34.4 cm), architectural subject

Portrait of James Good, M.D. of New College Oxford, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 15 1/4 × 11 1/8

Mont Saint-Michel, Charles Reginald Aston, 1832–1908, British, undated, Watercolor and white gouache on medium, slightly textured, cream wove paper, Frame: 16 × 25 3/4 × 1 1/4 inches (40.6 × 65.4 × 3.2 cm) and Sheet: 18 1/4 × 8 1/2

South West View of Bourn Hall, Cambridgeshire; the Seat of the Right hon'ble, Earl Delawarr, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1818, Watercolor and pen and black ink on moderately

The Poems of Thomas Gray, Design 45, 'The Progress of Poesy.', 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

The Poems of Thomas Gray, Design 61, 'The Bard.', 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 Amorous Turk, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and black ink and wash on slightly textured, laid paper, mounted on thick, moderately textured, beige, wove paper, Sheet: 11 1/2 x 12 1/8 inches (29.2

Tristan d' Acunha, January, Henry William Parish, active 1792, 1793, Watercolor on medium, slightly textured, cream laid paper, Sheet: 3 3/4 × 9 1/8 inches (9.5 × 23.1 cm), animal art

Landscape, unknown artist, undated, Watercolor on medium, slightly textured, cream wove paper mounted to thick, cream card, Sheet: 3 3/8 × 4 inches (8.6 × 10.2 cm), beach, coast, fog, marine art, storm, windmill

Classical Landscape with Figures, Francis Oliver Finch, 1802–1862, British, undated, Watercolor with scratching out on moderately thick, slighlty textured, cream wove paper, Sheet: 6 3/4 × 12 inches (17.1 × 30.5 cm), Classical, figures,

Woodland Scene with a Path Across a Stream, attributed to John Middleton, 1826–1856, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream laid paper, Sheet: 9 15/16 x 13 15/16in. (25.2 x 35.4cm) and Sheet:

Punt on a River, Jonathan Needham, active 1850–1874, British, 1862, Watercolor and gouache with scratching out on thick, moderately textured, cream wove paper, Sheet: 12 × 22 7/8 inches (30.5 × 58.1 cm

May 20, 1829, Nightingale Place, Wanstead, Anne Rushout, ca. 1768–1849, British, 1829, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 10 1/2 inches (17.8 × 26.7 cm

View of Some-Cheon on French Island, Thomas Daniell, 1749–1840, British, active in India, between 1793 and 1794, Watercolor and graphite on medium, slightly textured, cream laid paper mounted on canvas, Sheet: 21 1/4 x 29 5/8 inches (54 x

Sketch for the Passions: Pride, Richard Dadd, 1817–1886, British, ca. 1854, Watercolor, black ink, and graphite on moderately thick, smooth, beige wove paper, Sheet: 14 1/2 x 10 1/8 inches (36.8 x 25.7 cm), armor, begging, buildings,

Coast Scene with Shipping, Charles Bentley, 1806–1854, British, undated, Watercolor and pen and brown ink over graphite, with scraping out on heavy, moderately textured, wove paper, Sheet: 9 1/4 × 14 5/8 inches (23.5 × 37.1 cm), boat,

Norbury Park, Edward Francis Burney, 1760–1848, British, undated, Graphite, watercolor and pen and black ink on medium, slightly textured, beige wove paper, Sheet: 7 × 9 1/8 inches (17.8 × 23.2 cm), architectural subject, country

Scene near Shipton on Cherwell, Oxfordshire, William Turner of Oxford, 1789–1862, British, 1835, Watercolor, gouache and brown ink over graphite on moderately thick, moderately textured, cream laid paper, Sheet: 21 1/2 x 29 5/8 inches

Yarmouth Sands, Joseph Mallord William Turner, 1775–1851, British, ca. 1840, Watercolor, graphite and scraping out on medium, slightly textured, cream wove paper, Sheet: 9 3/4 x 14 3/8 inches (24.8 x 36.5 cm), beaches, docks, landscape,

Tombs of Thomas Anguish, and Anna Glasse, from Hanwell Churchyard, 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 × 10

Design for a Country House, John Bounarotti Papworth, 1775–1847, undated, Pen and black ink with gray wash, watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 17 3/4 × 23 3/4 inches (45.1 × 60.3 cm),

Selling Fish on a Beach, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray and red-brown ink, and graphite; verso: watercolor blots on moderately thick, moderately textured, beige, wove paper, Sheet: 5 1/2 x 8

Jerusalem, Plate 35, 'Then the Divine hand....', 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:

An Indian Shrub with White Blossoms and Pointed Leaves, 1792-1807, Janet Dick, active 1794–1806, British, 1792-1807, Watercolor, with pen, in gray ink, gouache, gum arabic, and graphite on medium, slightly textured, cream, wove paper,

Study of a Kid, James Ward, 1769–1859, British, 1796, Watercolor and white gouache with graphite and black ink on medium, slightly textured, beige laid paper mounted on thick, slightly textured, beige wove paper, Sheet: 5 3/8 x 6 1/8

New Zealand Fur Seal or Southern Fur Seal, James Stewart, 1791–1863, British, ca. 1837, Watercolor and graphite on thick, smooth, cream, wove paper, Sheet: 5 13/16 × 8 3/16 inches (14.8 × 20.8 cm

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

Haymakers, Peter La Cave, active 1769–1810, undated, Watercolor, pen and black ink, blue ink, brown ink, and graphite on moderately thick, slightly textured, beige, wove paper, Sheet: 14 5/8 × 19 9/16 inches (37.1 × 49.7 cm), dog

Nasua (Solitaria) Monachus, From Life, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, with pen and brown ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 4 1/16 × 6 9/16 inches (10.3 × 16.7

A Bear, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on medium, smooth, cream wove paper, Sheet: 6 1/2 × 8 1/4 inches (16.5 × 21 cm), animal art, bear, bears

Encombe, September 28, 1831, Anne Rushout, ca. 1768–1849, British, 1831, Watercolor, pen and black ink and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 3/4 × 10 inches (17.1 × 25.4 cm), architectural

Haymaking, Thomas Hearne, 1744–1817, British, undated, Black and gray ink with watercolor over graphite on moderately thick, slightly textured, beige wove paper, Contemporary drawn border: 8 3/4 x 10 inches (22.2 x 25.4 cm) and Sheet: 6 3/4

Greyhound Dhole, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 4 3/8 × 6 3/4 inches (11.1 × 17.1 cm), animal art

At Mrs. Bulley's, Hooe, near Plymouth, Henry Perlee Parker, 1795–1873, British, undated, Watercolor, graphite, and white gouache on medium, slightly textured, cream wove paper, Sheet: 5 1/2 × 9 inches (14 × 22.9 cm), child,

Upper Fall of the Reichenbach: Rainbow, Joseph Mallord William Turner, 1775–1851, British, 1810, Watercolor, graphite, heightening with white and scratching out on medium, slightly textured, cream wove paper, Sheet: 11 x 15 1/2 inches

London Cries: 'Turn your Copper into Silver Now before Your Eyes' (Title Page Design), Paul Sandby RA, 1731–1809, British, 1760, Watercolor, pen and gray and brown ink over graphite on medium, cream, slightly textured laid paper, Sheet: 7

Italian Landscape, Francois Vivares, 1709–1780, French, undated, Watercolor with pen and brown ink on medium, slightly textured, cream laid paper, Sheet: 5 7/8 × 3 1/2 inches (14.9 × 8.9 cm), Grand Tour, journey, landscape, Italy

A Bird's Egg, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 2 3/4 × 2 1/2 inches (7 × 6.4 cm), animal art, egg

Songs of Innocence and of Experience, Plate 31, 'Introduction' (Bentley 30), Print made by William Blake, 1757–1827, British, 1789 to 1794, Relief etching printed in dark-brown with pen and blue ink, black ink and watercolor on moderately

Sirree, Samuel Davis, 1757–1819, British, July 1793, Watercolor and pen and brown ink, pen and black ink and graphite on medium, moderately textured, cream laid paper, Sheet: 7 1/8 × 9 7/8 inches (18.1 × 25.1 cm), cows, grass, huts,

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1834, Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 13 1/4 × 17 inches (33.7 × 43.2 cm) and

The King of Brobdingnag and Gulliver, Print made by James Gillray, 1757–1815, British, Published by Hannah Humphrey, ca. 1745–1818, British, 1803, Etching and aquatint with hand coloring in watercolor on medium, slightly textured, cream

The Book of Thel, William Blake, 1757–1827, British, 1789, 8 relief etchings printed in brown, with pen and watercolor, on 8 leaves, Plate: 6 x 4 1/4in. (15.2 x 10.8cm), Binding: 11 5/8 x 9 1/4in. (29.5 x 23.5cm), and Sheet: 11 3/8 x 9in.

Interior with Mother and Two Children, Edward Thompson Davis, 1833–1867, British, undated, Watercolor and graphite and pen and brown ink on thick, slightly textured, cream wove paper, Sheet: 6 1/8 × 8 7/8 inches (15.6 × 22.5 cm),

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Little Sypeland, unknown artist, nineteenth century, undated, Graphite, watercolor, gray wash, pen and black ink on slightly textured, moderately thick, cream wove paper,

View of Calcutta and its Environs:View of Part of Chowringhee - Calcutta, Sir Charles D'Oyly, 1781–1845, British, active in India, undated, Watercolor, with pen, in brown ink, gouache, and graphite on moderately thick, moderately

A French Diligence of 1830, Charles Cooper Henderson, 1803–1877, British, undated, Watercolor, with pen, in brown ink, red ink, and graphite on gray card, Sheet: 7 1/2 × 14 15/16 inches (19.1 × 37.9 cm), coach, French, genre subject,

Sand Pits, Hunsdon, Joseph Clarendon Smith, 1778–1810, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 5 1/2 × 9 inches (14 × 22.9 cm), excavation, landscape, sand, sand pits,

Sheikh Abadeh, 3:15 pm, 6 January 1867 (84), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and brown ink over graphite on moderately thick, moderately textured, beige wove paper, Sheet: 2 1/2 × 10 inches (6.4 × 25.4 cm),

Near Tough, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and chochineal ink on medium, slightly textured, cream, wove paper, mounted on thick, slightly textured, cream wove paper, Sheet: 2 13/16 x 7 1/8 inches (7.1

Young Girl Sitting on a Bank outside a Church, John Thirtle, 1777–1839, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 10 1/8 × 13 3/4 inches (25.7 × 34.9 cm), architectural

Landscape with a Dwelling in Ruin, Sawrey Gilpin, 1733–1807, British, 1760, Watercolor and graphite on moderately thick, moderately textured, beige, laid paper, mounted on, moderately thick, moderately textured, beige, laid paper,

Herstmonceux Castle, East Sussex: The Butler's Pantry 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,

A Baboon, James Sowerby, 1756–1822, British, undated, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 12 5/8 × 8 inches (32.1 × 20.3 cm), animal art, baboon, Baboons

Mount Hecla Iceland, 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 1/8 inches (41 cm),

An Arab in the Clothes of Guyirat, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 5 × 7 1/2 inches (12.7 × 19.1 cm),

Alcibiades and Timon, Richard Westall, 1765–1836, British, ca. 1805, Watercolor with gouache and black ink over graphite on moderately thick, slightly textured, beige wove paper, Sheet: 13 1/8 x 10 1/16 inches (33.3 x 25.6 cm), armor,

High Street, Edinburgh, Joseph Mallord William Turner, 1775–1851, British, ca. 1818, Watercolor, pen and brown ink, graphite and scratching out on medium, slightly textured, cream wove paper, Sheet: 6 1/2 x 9 3/4 inches (16.5 x 24.8 cm),

The Messengers Tell Job of the Misfortunes that Have Befallen Him, 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

Britten Ferry, Mount Edgecombe, William Payne, active 1850s, British, undated, Watercolor, pen and black ink over graphite on medium, slightly textured, cream wove paper mounted on thick card, Sheet: 12 1/8 × 17 inches (30.8 × 43.2 cm)

View of Bath from Spring Gardens, Thomas Hearne, 1744–1817, British, 1790, Watercolor, pen and gray ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 12 1/8 x 18 1/8 inches (30.8 x 46 cm), architectural subject,

Trees in Northwick Park, David Roberts, 1796–1864, British, 1830, Watercolor and gouache over graphite on medium, slightly textured, gray wove paper, Sheet: 14 1/16 x 8 7/8in. (35.7 x 22.5cm) and Sheet: 14 5/8 × 8 7/8 inches (37.1 × 22.5

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