Images at Librifly

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Young's Night Thoughts, Page 10, 'Disease invades the chastest temperence', Print made by William Blake, 1757–1827, British, ca. 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Cobham Hall, Kent: Elevation of Stables, James Wyatt, 1746–1813, British, ca. 1790, Graphite, pen and black ink and watercolor on thick, moderately textured, cream, laid paper with two fold marks, Sheet: 4 1/8 x 8 1/2 inches (10.5 x 21.6

Millettia ferruginea (Hochst) Baker: finished drawing, James Bruce, 1730–1794, British, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Sheet: 16 × 12 inches (40.6 × 30.5 cm

Songs of Innocence and of Experience, Plate 8, 'The Little Black Boy' (Bentley 9), 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,

Ship Aground Brighton, Joseph Mallord William Turner, 1775–1851, British, 1830, Watercolor, brushed black ink, gouache on medium, slightly textured, blue wove paper, Sheet: 5 1/2 x 7 5/8 inches (14 x 19.4 cm) and Frame: 15 1/4 x 20 1/4 x

A Piscina in Blickling Church, Norfolk, imitator of John Sell Cotman, 1782–1842, British, 1814, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 8 5/8 x 7 1/2 inches (21.9 x 19.1 cm), architectural subject,

Interior of Rag Chapel, Sir Robert Vaugn's Place, North Wales, Attributed to John Middleton, 1826–1856, British, ca. 1849, Watercolor and graphite on medium, slightly textured, greenish gray wove paper, Sheet: 20 7/8 × 14 1/2 inches (53

Above Sabooa, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, moderately textured, cream wove paper, Sheet: 2 7/16 x 6 15/16 inches (6.2 x 17.6 cm), bushes, hills, landscape, palm

Lamb Farm near Hackney, the Residence of Hick? Richmond Road, George Arnald, 1763–1841, British, 1809, Watercolor and graphite

Memorial to Sir Orlando Gee Knight from Isleworth 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,

The Battle of Whigs, or, The Meal-tub Plot discovered, William Dent, active 1784–1793, 1791, Etching with watercolor on laid paper, Sheet: 9 5/8 x 13 5/8in. (24.4 x 34.6cm), dinner, food, meal

Foxhunting: The Refreshment, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, pen and black ink, brown ink, blue ink, graphite and gouache on medium, slightly textured, cream, wove paper, Sheet: 9 3/8 × 12 7/16 inches

View of Totnes, Devon, William Havell, 1782–1857, British, active in India (1820–26), undated, Watercolor, gouache, and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 9 7/8 × 16 1/4 inches (25.1 × 41.3

Designs executed for Jones and Willis, metal and wood-workers and church furniture manufacturers of Birmingham and London, George Edmund Street, 1824–1881, British, 1877, Black ink, graphite, watercolor and gouache on medium, smooth,

Mrs. Abington, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, pen and gray ink, pen and black ink, and gray wash on medium, slightly textured, cream laid paper, Sheet: 7 3/4 × 11 3/4 inches (19.7 × 29.8 cm), actress,

Major André, George Engleheart, 1753–1829, British, between 1771 and 1780, Gouache and watercolor on ivory, Image: 1 1/2 x 1 1/4 inches (3.8 x 3.2 cm) and Frame: 1 7/8 x 1 1/2 x 1/4 inches (4.8 x 3.8 x 0.6 cm), portrait

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

Mr. Drummond's Cottage, East Cowes, Isle of Wight, Thomas Rowlandson, 1756–1827, British, between 1797 and 1800, Watercolor with pen and gray and red-brown ink over graphite on moderately thick, moderately textured, white, wove paper,

Tintagel Castle, Thomas Rowlandson, 1756–1827, British, between 1785 and 1790, Watercolor with wash over graphite on moderately thick, moderately textured, light blue, laid paper, Sheet: 9 9/16 x 12 inches (24.3 x 30.5 cm) and Mount: 10

Clifton Mount, Godfrey Thomas Vigne, 1801–1863, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 3/4 × 13 inches (24.8 × 33 cm), cows, houses, landscape, men, mountains, Central

Classical Landscape, Alexander Monro, 1802–1844, after Thomas Girtin, 1775–1802, British, undated, Watercolor and graphite on thick, slightly textured, cream card mounted on thick, slightly textured, beige card, Mount: 14 1/8 × 21

Ship in Harbor, Clarkson Stanfield, 1793–1867, British, 1863, Watercolor, white gouache, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 × 7 1/4 inches (12.7 × 18.4 cm) and Binding: 5 1/4 inches (13.3 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

Sales by Auction! - or Provident Children Disposing of their Deceased Mother's Effects for the Benefit of the Creditors!!, Print made by George Cruikshank, 1792–1878, British, after unknown artist, ( Yedes ), Published by J Sidebotham,

An Admiralty Yacht Running Inshore at Tenby, Nicholas Pocock, 1740–1821, British, 1792, Watercolor, pen and brown ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 11 1/2 x 16 1/2 in. (29.2 x 41.9 cm),

The Arrival of Ferries at London Bridge (?), unknown artist, after Thomas Rowlandson, 1756–1827, British, formerly Thomas Rowlandson, 1756–1827, British, undated, Watercolor, pen and black ink, and graphite on medium, moderately

Near Aswan, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, gouache, pen and black ink on thick, slightly textured, beige wove paper, Sheet: 2 1/8 x 11 5/16 inches (5.4 x 28.7 cm), boat, hills, landscape, palm trees,

Sky Study, James Ward, 1769–1859, British, undated, Watercolor on medium, slightly textured, cream laid paper, Sheet: 7 1/4 x 8 7/8 inches (18.4 cm), clouds, landscape, sky

Spar and Anchor, Edward Alfred Goodall, 1819–1908, British, undated, Watercolor and graphite on moderately thick, slightly textured, beige wove paper, Sheet: 12 3/8 × 19 3/8 inches (31.4 × 49.2 cm

Europe. A Prophecy, Plate 1, Frontispiece, Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in dark brown with pen and black ink, oil and watercolor on moderately thick, slightly textured, cream wove

Middle Temple Gate, 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 ×

Wollaton Park, Nottingham: South Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, ca. 1801, Pen and black and brown ink, graphite, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 15 5/8 × 21 3/4

Ludlow Castle, Thomas Wright, 1792–1849, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 10 3/4 × 15 inches (27.3 × 38.1 cm), architectural subject

Taormina, Hercules Brabazon Brabazon, 1821–1906, British, undated, Watercolor, gouache and graphie on medium, gray, slightly textured wove paper mounted on board, Sheet: 10 3/8 x 13 7/8 inches (26.4 x 35.2 cm) and Mount: 10 3/8 x 13 7/8

Benisouef, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, gouache, pen and brown ink on medium, slightly textured, beige, wove paper, mounted on, thick, slightly textured, cream wove paper, Sheet: 3 3/4 x 11 9/16

Morecambe Sands, David Cox, 1783–1859, British, mid to late 1830s, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/8 x 5 1/8 inches (7.9 x 13 cm), figures (representations), landscape, rainbow, sails,

Young's Night Thoughts, Page 43, 'Night the Third, Narcissa.', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine: 17 1/2

Alge indeterminate species (Seaweed): finished drawing of habit of weed, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 15 15/16 × 12 5/16 inches (40.5 × 31.3

A Match at Newmarket, Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), undated, Watercolor, pen and black ink, graphite and gouache on medium, moderately textured, beige laid paper, mounted on, moderately thick,

Design for a Tudoresque Villa, Lewis Vulliamy, 1791–1871, British, undated, Pen and black ink and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 8 7/16 × 12 inches (21.4 × 30.5 cm), architectural subject,

Military Weapons, Female Ornaments, Utencils for Culinary and Religious Purposes, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor, graphite, and gouache with pen and black ink and pen and brown ink on medium,

Landscape with Shepherd and Sheep, Thomas Barker, 1769–1847, British, undated, Watercolor and gouache on moderately thick, moderately textured, brown wove paper, Sheet: 6 3/4 × 10 inches (17.1 × 25.4 cm), clouds, genre subject,

Graves of the Officers in the Fort on Cathcart's Hill, William Simpson, 1823–1899, British, 1854, Watercolor and gouache over graphite on medium, cream, slightly textured, wove paper, Sheet: 8 1/8 x 13 3/4 inches (20.6 x 34.9 cm), fort,

Cupid Overpowering a Satyr, Richard Cosway, 1742–1821, British, undated, Watercolor and graphite on thin, smooth, cream wove paper, Sheet: 10 7/8 x 6 1/2 inches (27.6 x 16.5 cm) and Mount: 14 1/2 x 11 1/8 inches (36.8 x 28.3 cm), angels,

The North Foreland (one of three drawings on one mount), John Thomas Serres, 1759-1825, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/8 x 10 1/2 inches (7.9 x 26.7 cm) and Image: 2 x 9

Memorial to Loilliam and Ann Frohock from Stoke Newington 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

The Ballad Singers, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and black ink on moderately thick, moderately textured, cream laid paper, Sheet: 5 5/16 x 4 3/8 inches (13.5 x 11.1 cm), bonnets (hats),

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

A Parrot, James de Carle Sowerby, 1787–1871, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 9 × 7 1/4 inches (22.9 × 18.4 cm), animal art, parrot

America. A Prophecy, Plate 2, Title Page, Print made by William Blake, 1757–1827, British, 1793, Color-printed relief etching in blue with pen and black ink and watercolor on moderately thick, slightly textured, cream wove paper, Sheet:

A Southeast View of the Castle of Grigan in Provence near Dauphine, Michel Vincent Brandoin, 1733–1807, Swiss, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 12 1/2 × 18 3/4

Hornsey Church, Anne Rushout, ca. 1768–1849, British, 1824 to 1832, Watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 10 × 6 3/4 inches (25.4 × 17.1 cm), architectural subject

Ely Cathedral, August 5, 1824, Anne Rushout, ca. 1768–1849, British, 1825, Watercolor, graphite, and pen and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 7 × 21 inches (17.8 × 53.3 cm) and Image: 7 × 16

From Window at Garnestone, September, Anne Rushout, ca. 1768–1849, British, 1824 to 1832, Watercolor on moderately thick, slightly textured, cream wove paper

A Race on the Knavesmire at York, Thomas Rowlandson, 1756–1827, British, undated, Watercolor, with pen, in brown ink and gray ink on thick, slightly textured, brown, wove paper, Sheet: 8 1/2 x 14 inches (21.6 x 35.6 cm), building,

Songs of Innocence, Plate 10, 'The Ecchoing Green' (Bentley 6), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in brown with pen and ink and watercolor on moderately thick, slightly textured, cream wove

Apollo Preceding Hector with His Aegis, and Dispersing the Greeks, Fuseli's Lectures, John Flaxman, 1755–1826, British, undated, Graphite, black chalk, red chalk, watercolor, and gouache on medium, slightly textured, cream laid paper,

Denbigh Castle, Thomas Girtin, 1775–1802, British, after Edward Dayes, 1763–1804, British, ca. 1793, Watercolor, pen and black ink and graphite on medium, slightly textured, cream wove paper, mounted on moderately thick, moderately

Solanum incanum L. (Wild Egg Plant): finished drawing, 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 × 31.3 cm) and

The Pass of Pancorbo, The Pyrenees, David Roberts, 1796–1864, British, undated, Watercolor and gouache over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 10 1/2 x 15 7/16 inches (26.7 x 39.2 cm), bandits,

A Bridge Between Florence and Bologna, Francis Towne, 1740–1816, British, 1781, Watercolor and black and brown ink over graphite on medium, slightly textured, cream wove paper, Sheet: 6 1/8 x 8 3/8 inches (15.6 x 21.3 cm) and Mount: 11 1/4

Farm horse being held by a stable lad, Sawrey Gilpin, 1733–1807, British, undated, Watercolor and graphite on medium, slighlty textured, beige wove paper, Sheet: 4 1/2 × 7 inches (11.4 × 17.8 cm), animal art, equestrian, genre subject,

Ploceus ocularis (Spectacled Weaver), Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on medium, slightly textured, cream laid paper, Binding: 16 inches (40.6 cm) and Sheet: 15 7/8 × 12 inches (40.3 × 30.5

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

View from the Round Tower, Windsor Castle, William Daniell, 1769–1837, British, 1827, Watercolor, with pen in brown ink, gouache and graphite on moderately thick, slightly textured, blued white, wove paper, Sheet: 12 5/16 × 20 5/16

Single Hermaphrodite Brig, Stern Forward, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, with pen, in brown ink, black ink and graphite on medium, slightly textured, beige, wove paper, mounted on, moderately thick,

Dhole of Sumatra, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink and graphite on medium, smooth, cream, wove paper, Sheet: 4 3/4 × 7 9/16 inches (12.1 × 19.2 cm), animal art

Memorial to Mrs. Lucretia Gazeley and her children Sarah Maria, Lucretia, Joseph, Joseph-William, Eliza and Eliza Gazeley, from Hornsey Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and

River with Fishermen, John Glover, 1767–1849, British, 1792, Watercolor and graphite on thick, moderately textured, beige laid paper, Sheet: 4 x 6 inches (10.2 x 15.2 cm), cliffs, fishermen, fishing, genre subject, landscape, men,

Songs of Innocence and of Experience, Plate 40, 'The Clod & the Pebble' (Bentley 32), 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

The Keep, Arundel Castle, unknown artist, nineteenth century, ca. 1830, Watercolor, pen, brown ink, and black ink on medium, slightly textured, cream wove paper, Sheet: 9 1/8 × 10 1/4 inches (23.2 × 26 cm) and Mount: 11 7/8 × 13 1/4

A Maribhou at Gunmjanm, Robert Mabon, died 1798, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 × 7 1/2 inches (22.9 × 19.1 cm

The River Stour, St. Mildred's Church and the Castle of Canterbury, Jonathan Skelton, active 1754, died 1758, British, 1757, Watercolor with pen and black ink and gray wash over graphite on medium, slightly textured, blued white laid paper,

South West View of Thornbury Castle, Gloucestershire, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1822, Watercolor and pen and black ink on moderately thick, cream wove paper, Sheet: 14 × 19

Design for a London Townhouse: Elevation, Michael Searles, 1750–1813, British, undated, Graphite, pen and black ink and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 7 5/16 × 5 1/2 inches (18.6 × 14 cm),

Songs of Innocence, Plate 8, 'The Lamb' (Bentley 8), Print made by William Blake, 1757–1827, British, 1789, Relief etching printed in brown with pen and black ink and watercolor on moderately thick, slightly textured, cream wove paper,

Attributed to Dinton House, Wiltshire: Elevation, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 10 3/16 × 10 1/2

Brass Plate for Dr. James Goode and his Wife Joan, Daughter of Edward Clinton, West Drayton Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Watercolor, graphite, and pen and black ink on moderately thick, slightly

Woodland Study, Robert Hills, 1769–1844, British, 1802, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 5/8 × 7 5/8 inches (24.4 × 19.4 cm), landscape, trees, woodland

Memorial to Sir Thomas Chaloner, 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: 13 × 10 5/8 inches (33

North East View of Grantham Church, Lincolnshire, Joseph Mallord William Turner, 1775–1851, British, ca. 1797, Watercolor and graphite on medium, slightly textured, cream wove paper, mounted on medium, slightly textured, cream wove

The Temple of Apollo Epicurius at Bassai, Phigalea, John Foster, ca. 1787–1846, British, 1811, Watercolor, pen and brown ink and graphite on medium, slighlty textured, cream wove paper, Sheet: 11 5/8 × 18 inches (29.5 × 45.7 cm),

Rhamnus prinoides L'Herit. (African Buckthorn): finished drawing without details and with berries added, James Bruce, 1730–1794, British, undated, Watercolor and gouache over graphite on medium, slightly textured, cream laid paper, Sheet:

A Fair in the Country, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown, brown, and gray ink over graphite on medium, slightly textured, cream, wove paper, Sheet: 5 3/8 x 9 5/16 inches (13.7 x 23.7 cm),

Thaxted Church, Essex, Thomas Hearne, 1744–1817, British, ca. 1800, Watercolor, pen and black ink, and graphite on medium, slightly textured, beige wove paper, Contemporary drawn border: 14 3/4 × 11 1/4 inches (37.5 × 28.6 cm) and

View on the Nile, Edward Lear, 1812–1888, British, 1854, Watercolor, graphite, pen and red ink on moderately thick, rough, beige wove paper, Sheet: 2 5/8 x 9 1/8 inches (6.7 x 23.2 cm), landscape, palm trees, reflection (optics),

Study of a Fakir, Amritsar, 26 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

Comforts of Bath: The Music Master, Thomas Rowlandson, 1756–1827, British, 1798, Watercolor with pen and black ink on medium, slightly textured, cream laid paper, Mount: 5 3/4 x 8 9/16 inches (14.6 x 21.7 cm) and Sheet: 4 3/4 x 7 7/16

George Morland, Thomas Rowlandson, 1756–1827, British, between 1780 and 1799, Watercolor and graphite with pen and black ink on medium, moderately textured, cream laid paper, Sheet: 10 1/8 x 6 3/16 inches (25.7 x 15.7 cm), boot, coat,

America. A Prophecy, Plate 6, 'Appear to the Americans....', Print made by William Blake, 1757–1827, British, 1793, Relief etching printed in blue with pen and black ink and watercolor on moderately thick, slightly textured, cream wove

Abu Seer, Wady Halfeh, Edward Lear, 1812-1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, moderately textured, beige wove paper, Sheet: 1 13/16 x 10 9/16 inches (4.6 x 26.8 cm), boats, lake, landscape,

Cattle by a Stream, Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 6 3/4 × 9 1/4 inches (17.1 × 23.5 cm), cattle, fields, grazing, landscape,

Bedouin Grayhound of Akkaba, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and gray ink, black ink and graphite on moderately thick, smooth, cream, wove paper, Sheet: 3 7/8 × 6 5/8 inches (9.8 × 16.8 cm),

Principle with East and South Elevations of Thunderdell Lodge, Earl of Bridgewater, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Pen, black ink, graphite and watercolor on moderately thick, slightly textured, cream wove

The Destruction of Pompeii, David Roberts, 1796–1864, British, undated, Watercolor and pastel on medium, cream, slightly textured wove paper mounted on card, Sheet: 14 3/8 x 10 3/8 inches (36.5 x 26.4 cm) and Mount: 14 1/2 x 10 5/8 inches

A View of the Garden and House at Upper Winchendon, Buckinghamshire, Attributed to Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet:

Boy Tying a Girl's Shoe, 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

The Greengrocer, James Pollard, 1792–1867, British, ca. 1819, Watercolor, pen and black ink, pen and brown ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 9 × 10 7/8 inches (22.9 × 27.6 cm), aprons (main

George Wolrige of Garlinneck, William Wood, 1768–1809, British, undated, Watercolor and gouache on ivory laid onto card, Image: 3 1/4 x 2 5/8 inches (8.3 x 6.7 cm) and Frame: 4 x 3 1/8 x 1/4 inches (10.2 x 7.9 x 0.6 cm), portrait

Facade and Ground Plan of a Terrace of Houses, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 20 × 28 1/2 inches (50.8

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