Images at Librifly

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Ruins du Chateau du Heidelberg, Charles Gore, 1729–1807, British, 1793, Watercolor and graphite on medium, slighlty textured, cream laid paper, Sheet: 14 7/8 × 21 3/4 inches (37.8 × 55.2 cm), arches, architectural subject, building,

'By - he'll get to the Earth...', Henry Thomas Alken, 1785–1851, British, 1827, Graphite and watercolor on medium, slightly textured, beige laid paper mounted to card, Sheet: 8 × 10 1/2 inches (20.3 × 26.7 cm) and Mount: 11 3/4 × 13 3/4

A Sea Engagement between the English and Algerines, Print made by Paul Fourdrinier, French, after Peter Monamy, 1681–1749, British, Published by Bowles & Carver, 1763–1830, British, Published by Robert Wilkinson, 1758–1825, British,

Mountainous Scene with Buildings and River, Samuel Davis, 1757–1819, British, undated, Watercolor, pen and black ink, gray ink, and graphite on medium, moderately textured, beige, laid paper, mounted on, thick, moderately textured,

Steeton Manor House, Near Farnley, Joseph Mallord William Turner, 1775–1851, British, between 1815 and 1818, Watercolor on medium, slightly textured, cream wove paper, Sheet: 4 3/8 x 6 5/8 inches (11.1 x 16.8 cm), architectural subject,

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

Design for Grosvenor House, London: Plan, Thomas Cundy, 1790–1867, British, 1829, Pen and red and black ink and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 18 7/8 × 25 5/8 inches (47.9 × 65.1 cm),

The Bridge, John Varley, 1778–1842, British, 1804, Watercolor and graphite on moderately thick, moderately textured, cream wove paper, Sheet: 17 x 14 7/8 inches (43.2 x 37.8 cm), arches, architectural subject, bridges (built works),

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, undated, Graphite and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 17 × 13 1/4 inches (43.2 × 33.7 cm) and Image: 12 1/8 × 8

Saint Lo, David Roberts, 1796–1864, British, ca. 1825, Watercolor with some gouache over graphite on medium, slightly textured, beige wove paper, Sheet: 10 x 13 1/2in. (25.4 x 34.3cm) and Sheet: 10 × 13 3/4 inches (25.4 × 34.9 cm),

River Landscape with a Waterfall, Thomas Rowlandson, 1756–1827, British, between 1795 and 1800, Watercolor and graphite with pen and red-brown ink, pen and red-black ink, and gray ink on medium, smooth, blued white, wove paper, Sheet: 5

Margate, October 2nd, 1850, George Richmond, 1809–1896, British, 1850, Graphite, watercolor and white gouache on medium, slightly textured, cream wove paper, Sheet: 7 1/16 x 10 5/16 inches (18 x 26.2 cm), cottages, farms, fences,

Boy Carrying a Pail on His Head, James Ward, 1769–1859, British, undated, Watercolor over graphite on medium, smooth, cream wove paper, Sheet: 5 3/8 x 2 3/8 inches (13.7 x 6 cm), boy, figure study, genre subject, pail

A Gosiag - A Tribe of Hindu Religious Beggars, 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 5/8 × 6 inches (14.3 ×

Album of Landscape and Figure Studies: Landscape Scene near St. Albans, Thomas Bradshaw, Born 1767, British, 1811 to 1813, Graphite and watercolor

Illustration to the Virtuous Orphan, Thomas Stothard, 1755–1834, British, undated, Watercolor and pen and black ink on moderately thick, slightly textured cream laid paper, Sheet: 4 5/8 × 2 7/8 inches (11.7 × 7.3 cm), cells, correctional

Eton College from Datchet Road, Thomas Girtin, 1775–1802, British, 1790, Watercolor with pen and gray ink over graphite with gray wash border on gray, thick, moderately textured, laid, cartridge paper, Sheet: 18 1/4 x 23 1/16 inches (46.4

Gone Away, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, blued white, wove paper, Sheet: 9 3/16 × 13 3/16 inches (23.3 × 33.5 cm), dogs (animals), fence, field, gate, hill,

Portrait of a Gentleman, Charles Robertson, 1759–1821, Irish, undated, Watercolor and gouache with scraping on ivory, Image: 2 3/4 x 2 1/8 inches (7 x 5.4 cm) and Frame: 3 1/2 x 2 1/2 x 1/2 inches (8.9 x 6.4 x 1.3 cm), portrait

Boy Holding an Apple for a Girl with Two Girls Beyond, 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

London Cries: 'Black Heart Cherries...', Paul Sandby RA, 1731–1809, British, ca. 1759, Watercolor and graphite on medium, cream, slightly textured laid paper, Sheet: 7 x 5 5/8 inches (17.8 x 14.3 cm), black, cherries, child, cries,

The Book of Thel, Plate 4, 'Why should the mistress . . . .', 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 paper,

Young's Night Thoughts, Page 75, 'The Sun Beheld it -- No, the Shocking Scene', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Country Toll House, Luke Clennell, 1781–1840, British, between 1795 and 1800, Watercolor and brown ink on moderately thick, rough, cream wove paper, Sheet: 5 7/8 × 8 inches (14.9 × 20.3 cm), country (rural landscape), genre subject,

Tomb of William Rawlinson from Hendon 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: 15 × 10

Lake Windermere from Calgarth with Belle Isle, John Warwick Smith, 1749–1831, British, ca. 1790, Watercolor over graphite on medium, slightly textured, cream wove paper in contemporary line mount, Sheet: 13 5/8 × 20 1/8 inches (34.6 ×

Asian Palm Civet, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor and graphite on moderately thick, smooth, white, wove paper, Sheet: 4 1/8 × 6 1/2 inches (10.5 × 16.5 cm), animal art

Herstmonceux Castle, East Sussex: The Pump 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, Sheet: 18 5/8 ×

The First Book of Urizen, William Blake, 1757–1827, British, 1794, 28 color-printed relief etchings, with watercolor, on 28 leaves, Sheet: 10 x 7 1/8in. (25.4 x 18.1cm) and Spine: 10 1/4in. (26cm

Albizia gummifera (J.F.Gmel.) C.A. Sm. (Gummy Albizia Tree): finished drawing with minor variations in flowering head, Luigi Balugani, 1737–1770, Italian, Formerly James Bruce, 1730–1794, British, undated, Watercolor over graphite on

Basel, Bridge Center, Quayside, with Figures and Shipping Right, with Cathedral Rising behind Buildings, John Henderson, 1764–1843, British, ca. 1807, Watercolor and pen and ink over graphite on medium, slightly textured, cream wove

Herstmonceux Castle, East Sussex: View, 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, Sheet: 18 5/8 x 25 1/4

Thamnolaea semirufa (White-winged Cliff-chat), 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

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: The Farm Consisting of Kirkland Drumcroy, Auchenfloor, Cannee, Barhill and Silvercraigs (formerly Nuntons), unknown artist, undated, Graphite, watercolor, pen and black ink

Arch of Janus, after Piranesi, Thomas Girtin, 1775–1802, British, between 1798 and 1799, Watercolor with pen and brown ink over graphite on moderately thick, moderately textured, beige laid paper, Sheet: 8 5/16 x 12 1/8 inches (21.1 x 30.8

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), cattle, channel (water

Elderly Couple on a Park Bench, with Two Men Beyond, Print made by Robert Barnes, 1840–1895, British, after Robert Barnes, 1840–1895, British, undated, Wood-engraving with watercolor on thick, slightly textured, cream wove paper

Cyperus species 1: finished drawing of sedge-like plant with roots, 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 cm) and

Wady Halfeh, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on moderately thick, slightly textured, cream wove paper, Sheet: 4 5/8 x 12 7/16 inches (11.7 x 31.6 cm), boats, camel (mammal), figures

Interior of a Church with Altar Boys, unknown artist, between 1826 and 1866, Watercolor heightened with gouache over graphite, Sheet: 11 5/16 x 8 1/8in. (28.7 x 20.6cm

Cobham Hall, Kent: Plan of Stables, James Wyatt, 1746–1813, British, ca. 1790, Pen and black ink and watercolor on thick, slightly textured, beige laid paper, Sheet: 4 1/2 x 5 7/8 inches (11.4 x 14.9 cm), architectural subject, horse

River pass between semi barren rock cliffs, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, gouache, pen and black ink on thick, slightly textured, wove paper, mounted on thick, slightly textured, cream wove paper, Sheet:

The Connoisseurs, Thomas Rowlandson, 1756–1827, British, ca. 1790, Watercolor with pen and red, brown and black ink over graphite on medium, slightly textured, blued white, wove paper, mounted on, medium, moderately textured, blued

Holbein's Gateway and Jones's Banqueting House, Whitehall..., Louis Philippe Boitard, active 1734–1760, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 4 3/4 x 6 1/2in. (12.1 x

Visions of the Daughters of Albion, Plate 1, Frontispiece, William Blake, 1757–1827, British, 1793, Relief etching printed in green with pen and black ink and watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 13

Lilleshall, Shropshire: East View, Sir Jeffry Wyatville, 1766–1840, British, 1826, Graphite, pen and black ink, watercolor on slightly textured, medium, white wove paper, Sheet: 4 3/8 × 13 7/8 inches (11.1 × 35.2 cm) and Mount: 10

Acokanthera schimperi (DC) Schweinfurth: finished drawing of flowering shoot, 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

Portrait of a Lady, unknown artist, eighteenth century, undated, Watercolor and gouache on ivory, Image: 2 7/8 x 2 3/8 inches (7.3 x 6 cm) and Frame: 3 3/8 x 2 5/8 x 1/4 inches (8.6 x 6.7 x 0.6 cm), portrait, woman

The Bolt Head, West North West (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 1/8 x 10 1/2 inches

(Sheikh Abu Fodde) Om el Koussour, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 2 7/8 x 7 inches (7.3 x 17.8 cm), landscape, palm trees, sky,

Near Sabooa, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, white gouache, pen and brown ink on moderately thick, moderately textured, wove paper, mounted on thick, moderately textured, wove paper, Sheet: 2 7/8 x 10 5/8

Shepheard, Field and Haughton (fighting), George Shepheard, ca. 1770–1842, British, undated, Watercolor, brown ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 8 1/8 × 6 3/8 inches (20.6 × 16.2 cm), caricature,

Headfort House, Ireland: Elevation of One End of the Parlor, Robert Adam, 1728–1792, British, between 1771 and 1775, Graphite, pen and black ink and watercolor on medium, slightly textured, cream laid paper, Sheet: 15 1/2 x 12 1/2 inches

Flower Garden, Finborough Hall, September 1828, Anne Rushout, ca. 1768–1849, British, 1828, Watercolor on moderately thick, slightly textured, cream wove paper

South East View of the Remains of the Gorhambury House Hertfordshire, belonging to the Earl of Verulam, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1815, Watercolor and pen and black ink on

Near Belbeis, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on medium, slightly textured, cream wove paper, Sheet: 2 3/4 x 8 1/2 inches (7 x 21.6 cm), camels (mammals), figures (representations), genre

The Dragoman of Mr. Moore, English Consul at Beyrout, Sir David Wilkie, 1785–1841, British, 1841, Graphite, black chalk and watercolor with gouache on moderately thick, slightly textured, gray wove paper, Sheet: 17 3/4 x 11 3/4 inches

Haymaking, Julius Caesar Ibbetson, 1759–1817, British, 1792, Pen and gray ink, watercolor, gouache, and graphite on medium, slightly textured, cream wove paper, Sheet: 8 3/4 × 11 3/8 inches (22.2 × 28.9 cm), genre subject, haymaking,

Design for a Country House, James Lewis, 1751–1820, British, undated, Graphite, pen and black ink, watercolor on smooth, thick, brown laid paper, Sheet: 8 × 25 3/4 inches (20.3 × 65.4 cm), architectural subject, country house,

Mountain Scene with Stream, Cows and Figures, Thomas Sully, 1783–1872, American, undated, Watercolor, gouache, graphite and sponging on medium, smooth, beige, wove paper, Sheet: 8 5/8 × 11 1/4 inches (21.9 × 28.6 cm

'Sporting Discoveries, or the Miseries of Driving:'...You Discover You Have Obtained a Steady One, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, with pen, in brown ink and black ink, over graphite on medium, moderately

Venus Crowned by Cupid, Thomas Rowlandson, 1756–1827, British, between 1810 and 1815, Watercolor, with pen and brown, gray, red-brown and red ink over graphite on medium, slightly textured, cream wove paper, Sheet: 5 5/8 x 8 3/4 inches

Women in 'Old Italian Costume - Naples', Isaac Weld, 1774–1856, Irish, 1818, Graphite, pen and brown ink and watercolor on medium, slightly textured, light blue, wove paper, Sheet: 8 1/4 × 9 13/16 inches (21 × 24.9 cm), portrait,

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

Wild Dog of Natolla, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink, gray ink and graphite on medium, smooth, cream, wove paper, Sheet: 4 5/8 × 7 7/16 inches (11.7 × 18.9 cm), animal art

Part of the Construction in the Old House of Lords, Attributed to office of Sir John Soane, (George Bailey), 1753–1837, British, 1823, Graphite, watercolor, pen and black and brown ink on slightly textured, moderately thick, white wove

Shelaal, 5:30 am, 29 January 1867 (264), Edward Lear, 1812–1888, British, 1867, Watercolor with pen and black ink and gouache over graphite on moderately thick, moderately textured, gray wove paper, Sheet: 3 × 10 5/8 inches (7.6 × 27

'After Pinnelli' (Group of Peasants Outside a House), Isaac Weld, 1774–1856, Irish, 1817, Watercolor, pen and brown ink, brown wash, over graphite on medium, slightly textured, cream, wove paper, Sheet: 7 13/16 x 10 5/8in. (19.8 x 27cm

Windsor Castle, John Inigo Richards RA, 1730/31?–1810, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 5 5/8 × 8 3/4 inches (14.3 × 22.2 cm), architectural subject, bushes, castle,

Crossing Lancaster Sands, David Cox, 1783–1859, British, mid-1830s, Watercolor, gouache and graphite and scratching out on moderately thick, slightly textured, white, wove paper, mounted on, moderately thick, slightly textured, cream,

Bodmin Cornwall: French Prisoners on Parole, Thomas Rowlandson, 1756–1827, British, 1795, Watercolor with pen and gray and black ink over graphite on medium, slightly textured, beige, wove paper, mounted on moderately thick, moderately

Lot Fleeing Sodom, Attributed to John Martin, 1789–1854, British, undated, Watercolor, pen and black ink, graphite, and white gouache on medium, slightly textured, cream wove paper, Sheet: 2 1/8 x 2 3/4 inches (5.4 x 7 cm), brimstone,

Hot Spice Gingerbread, all Hot, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown ink on medium, slightly textured, wove paper, mounted on thick, wove paper, Sheet: 5 15/16 x 4 3/16 inches (15.1 x 10.6 cm),

Acanthus Sennii Chiov. : finished drawing with added details, Luigi Balugani, 1737–1770, Italian, undated, Watercolor and gouache over graphite on moderately thick, slightly textured, cream laid paper, Sheet: 16 × 12 inches (40.6 × 30.5

'Visions of the Daughters of Albion', London, by William Blake, William Blake, 1757–1827, British, 1793, Relief etching printed in green, with watercolor, Spine: 14in. (35.6cm) and Sheet: 13 5/8 x 9 3/4in. (34.6 x 24.8cm

Jerusalem, Plate 38, 'His face and bosom....', 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

The Angler, Joseph Mallord William Turner, 1775–1851, British, 1794, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 9 x 6 1/8 inches (22.9 x 15.6 cm), dog (animal), fishing, fishing rod, genre subject,

The Common Jackal, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and brown ink, and graphite on medium, slightly textured, cream, wove paper, Sheet: 4 3/4 × 7 7/16 inches (12.1 × 18.9 cm), animal art

William Beckford's Ponies, William Hamilton, 1751–1801, British, undated, Watercolor over graphite on medium, slightly textured, cream, wove paper, Sheet: 11 1/2 × 13 3/4 inches (29.2 × 34.9 cm), animal art

Gentleman in a Chair, unknown artist, (W. Hake), 1866, Watercolor on thick, beige, smooth wove paper, Sheet: 5 3/8 x 4 1/2 inches (13.7 x 11.4 cm) and Frame: 6 x 5 x 3/4 inches (15.2 x 12.7 x 1.9 cm), chair, collar, gentleman, man,

Conservatory at Thoresby Hall, Nottinghamshire: Perspective, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink, watercolor on slightly textured, medium, cream wove paper, Sheet: 12 3/4 × 20 5/8

The Market Place, Tanta, Egypt, William Paton Burton, 1828–1883, British, 1874, Watercolor, with pen in gray ink, black ink, brown ink, blue ink and graphite on moderately thick, moderately textured, cream, wove paper, Sheet: 14 7/16

Elevation of Ruined Temple, James Bruce, 1730–1794, British, undated, Graphite, watercolor, and pen and black ink on medium, slightly textured, cream laid paper, Sheet: 8 1/2 × 12 5/8 inches (21.6 × 32.1 cm), architectural subject

The Portico of St. Martin-in-the-Fields, William Henry Hunt, 1790–1864, British, ca. 1862, Watercolor, with pen in brown ink over graphite on moderately thick, slightly textured, beige, wove paper, Sheet: 19 1/2 x 13 1/2 inches (49.5 x

St. Catherine's Castle at Fowey, Cornwall, Capt. Francis Grose, 1731–1791, British, undated, Watercolor and pen and ink on medium, slightly textured, cream laid paper, Sheet: 12 x 19 1/2in. (30.5 x 49.5cm), Sheet: 7 1/4 × 15 7/8 inches

Teignmouth, Devonshire, Joseph Mallord William Turner, 1775–1851, British, ca. 1813, Watercolor and scratching out on medium, slightly textured, cream wove paper, Sheet: 6 x 8 3/4 inches (15.2 x 22.2 cm), boatbuilding, boats, harbor,

Cottages at Llanllyfni, North Wales, Cornelius Varley, 1781–1873, British, 1805, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 4 1/16 x 9 3/4 inches (10.3 x 24.8 cm), architectural subject, cottage,

The Doctor Overcame, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and black ink on moderately thick, moderately textured, blued white laid paper, Sheet: 4 3/16 x 5 13/16 inches (10.6 x 14.8 cm), chairs, doctors,

View of the Valley of Sardis and View of a Ruined Bridge, Giovanni Battista Borra, 1713–1770, Italian, ca. 1750, Black and brown ink with gray wash and watercolor over graphite on moderately thick, moderately textured, cream laid paper with

River Landscape with Bridge, Edward Francis Burney, 1760–1848, British, undated, Watercolor, pen and black ink on medium, slightly textured, cream laid paper, Sheet: 8 1/4 × 11 5/8 inches (21 × 29.5 cm), bridge (built work), church,

The Poems of Thomas Gray, Design 83, 'The Descent of Odin.', 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

Study of a Lioness, John Frederick Lewis, 1804–1876, British, ca. 1824, Watercolor and gouache over graphite on buff wove paper, Sheet: 14 5/16 x 16 9/16 inches (36.4 x 42.1 cm), animal, animal art, lioness, mouth, study (visual work),

Songs of Innocence and of Experience, Plate 40, 'The Angel' (Bentley 41), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching with watercolor on moderately thick, slightly textured, cream wove paper, Sheet:

Jerusalem, Plate 24, 'What have I said?....', 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

A Map of the Land in Starson, Isaac Johnson, 1754–1835, British, undated, Pen and brown ink and watercolor on vellum, Sheet: 15 × 22 1/2 inches (38.1 × 57.2 cm), architectural subject, designs, house, surveys, England, Europe,

Two Peasants by a Window, attributed to William Henry Hunt, 1790–1864, British, undated, Watercolor and charcoal with graphite on moderately thick, slightly textured, cream wove paper, Sheet: 7 7/8 x 4 3/4 inches (20 x 12.1 cm), bench,

Windsor Castle, Berkshire, Sir Robert Smirke the younger, 1781–1867, British, ca. 1823, Watercolor over graphite and pen on thick, slightly textured, cream laid paper, Sheet: 11 × 16 1/2 inches (27.9 × 41.9 cm), arcades, arch bridges,

A Storm on the Coast, Thomas Shotter Boys, 1803–1874, British, between 1840 and 1850, Watercolor on cream, moderately thick, slightly textured, wove paper, mounted on cream, very thick, moderately textured card board, Sheet: 5 3/8 × 7

Chase 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

Northeast view of Westminster Abbey, John Gendall, 1790–1865, British, undated, Watercolor and gouache on medium, slightly textured, beige wove paper, Sheet: 13 1/2 × 19 inches (34.3 × 48.3 cm), architectural subject

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