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A Boy Writing, William Henry Hunt, 1790–1864, British, ca. 1830, Watercolor and graphite on moderately thick, slightly textured, cream laid paper, Contemporary drawn border: 4 1/8 x 4 inches (10.5 x 10.2 cm) and Sheet: 3 x 3 inches (7.6 x

Jerusalem, Plate 73, 'Such are Cathedron's golden Halls....', 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

View of Westminster Hall and Abbey from the Bridge, John Gendall, 1790–1865, British, 1818, Watercolor with white gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 14 × 18 3/4 inches (35.6 × 47.6 cm),

Views in the Levant: Landscape With Hills in Distance (page from a sketchbook), Willey Reveley, (?), 1760–1799, British, ca. 1785, Watercolor, pen and black ink, and graphite on medium, moderately textured, cream, laid paper, mounted on

Windsor Castle, Berkshire: Elevation of the North Terrace, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black and brown ink, and watercolor on moderately thick, moderately textured, beige wove paper,

Memorial to Samuel Buckley and Burrage and Elizabeth Angier, Attributed to 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

Richmond, Edward Francis Burney, 1760–1848, British, undated, Pen and black ink and watercolor on medium, slightly textured, cream, laid paper, Sheet: 4 7/8 × 7 3/8 inches (12.4 × 18.7 cm), cows, landscape, river, trees

The Pool at Evening, George Barret Jr., 1767–1842, British, or George Barret RA, ca. 1728/32–1784, Irish, undated, Watercolor on medium, moderately textured, cream, wove paper, Sheet: 3 3/4 × 6 1/2 inches (9.5 × 16.5 cm), cows,

Brown's Parakeet, after Edward Lear, 1812–1888, British, unknown artist, 19th c., 1832, Watercolor, pen and black ink and graphite on beige board, Sheet: 15 × 12 inches (38.1 × 30.5 cm), animal art

Long-beaked Echidna, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor and graphite on medium, smooth, cream, wove paper, Sheet: 4 1/2 × 6 7/8 inches (11.4 × 17.5 cm), animal art

The Great Square at Torcello, John Ruskin, 1819–1900, British, 1850, Pen and black ink, watercolor, white gouache and graphite on thick, smooth, beige wove paper, Sheet: 9 3/4 x 13 5/8 inches (24.8 x 34.6 cm), architectural subject,

Quakers' Meeting, Thomas Rowlandson, 1756–1827, British, ca. 1810, Watercolor with pen and gray-brown and red-brown ink over graphite on medium, slightly textured, blued white, wove paper, mounted on moderately thick, slightly textured,

One of eighteen designs for a series of plates illustrating Venus and Adonis, Hablot Knight Browne, 1815–1882, British, undated, Graphite, brown chalk, watercolor, and white gouache on medium, slightly textured, gray wove paper, Sheet: 6

Ascent of Balloon from Burlington House, Piccadilly, from the Window at Mr. B. Palmer's, John Linnell, 1792–1882, British, after 1812, Watercolor, brown ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet:

The Hunted Fox, 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

Aldborough, September 4th, 1812, unknown artist, nineteenth century, 1812, Watercolor, pen and brown ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 6 1/4 × 14 7/8 inches (15.9 × 37.8 cm

The Poems of Thomas Gray, Design 29, 'A Long Story.', 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

Seamstresses, St. Kitts, Carribean, William Kay, active 1795, 1798, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 5/8 × 4 7/8 inches (16.8 × 12.4 cm), costume, figure study, headgear,

Pont Aber Glaslyn, William Burgess, 1749–1812, British, 1785, Watercolor, pen and black ink, gray ink, gray wash and graphite on medium, slightly textured, blued white, laid paper, mounted on, moderately thick, moderately textured,

Der Polster, Maximilion Kurzweil, 1867–1916, undated, Watercolor and graphite on medium, smooth, cream wove paper, Sheet: 3 3/4 × 6 5/8 inches (9.5 × 16.8 cm), figure study, genre subject

'Some Do and Some Don't: It is All a Notion:' Getting Over a Difficulty, Henry Thomas Alken, 1785–1851, British, between 1848 and 1851, Graphite and watercolor on medium, moderately textured, blued white, wove paper, Sheet: 7 9/16 × 10

Young Man in a Brown Jacket, Richard Crosse, 1742–1810, British, ca. 1795, Watercolor on ivory, Overall: 3 5/8 × 2 1/2 × 1/4 inches (9.2 × 6.4 × 0.6 cm), hair, jacket, man

A View of the Coast of China, William Alexander, 1767–1816, British, undated, Watercolor and pen and black ink over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 3/8 × 8 1/8 inches (13.6 × 20.6 cm), boats,

Country Folk Gathered Around a Cooking Pot, Joshua Cristall, 1768–1847, British, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Sheet: 2 3/4 x 4 7/8 inches (7 x 12.4 cm), children, cloaks,

The Tower of London, Thomas Hearne, 1744–1817, British, 1801, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 8 7/8 x 14 3/4 inches (22.5 x 37.5 cm), architectural subject, armed

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

Threshing Corn, Peter DeWint, 1784–1849, British, ca. 1830, Watercolor and graphite on moderately thick, rough, cream, wove paper, Sheet: 11 3/8 x 17 5/8 inches (28.9 x 44.8 cm), agriculture, carts, clouds, corn, farm, genre subject,

Study for 'The Pinche or Red Tailed Monkey' (formerly the Cottenhead Marmoset), Thomas Bewick, 1753–1828, British, ca. 1785-1789, Pen and black ink and watercolor on medium, slighlty textured, cream laid paper, Sheet: 7 1/8 × 9 1/2 inches

Reverend with Powdered Hair and Black Coat, Richard Crosse, 1742–1810, British, ca. 1790, Watercolor on ivory, Overall: 1 5/16 × 15/16 inches (3.4 × 2.4 cm), coat, reverend

A Lady Reading, William Henry Hunt, 1790–1864, British, ca. 1835, Watercolor and gouache over graphite on moderately thick, slightly textured, cream wove paper, Contemporary drawn border: 11 1/2 x 8 inches (29.2 x 20.3 cm) and Sheet: 11 1/4

The Death: Huntsman Holding Fox Aloft, Henry Thomas Alken, 1785–1851, British, undated, Graphite and watercolor on medium, slightly textured, cream, wove paper, Sheet: 10 1/4 × 14 5/16 inches (26 × 36.4 cm), birds, bushes, death,

A Village in the Sussex Downs, Robert Polhill Bevan, 1865–1925, British, undated, Graphite and watercolor on medium, cream, smooth wove paper, Sheet: 12 3/8 x 17 1/4 inches (31.4 x 43.8 cm), cityscape, hills, landscape, trees, village,

The Eye of a Seal and verso: Sketches of an Apparatus, James Sowerby, 1756–1822, British, 1804, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 4 × 3 inches (10.2 × 7.6 cm), animal art, eye

Plan of Longford Castle, Wiltshire; the Seat of the Right Hon'ble the Earl of Radnor, John Buckler FSA, 1770–1851, British, and John Chessell Buckler, 1793–1894, British, 1815, Watercolor and pen and black ink on moderately thick, cream

Chapel of St. Michael's Mount, Capt. Francis Grose, 1731–1791, British, 1786, Watercolor and pen and ink on medium, slightly textured, cream laid paper, Sheet: 10 1/4 x 16 1/2in. (26 x 41.9cm) and Sheet: 10 1/2 × 16 5/8 inches (26.7 ×

Druidical Stone at Strather, near Barvas, Isle of Lewis, William Daniell, 1769–1837, British, undated, Watercolor over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 6 1/4 x 9 1/4 inches (15.9 x 23.5 cm),

The Woman at the Well, Attributed to John Martin, 1789–1854, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 2 1/8 x 2 3/4 inches (5.4 x 7 cm), blessing, bucket, city, dog, landscape,

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, Pen, black and blue ink and graphite with watercolor and gouache,

The Doctor's Pill, John Collet, ca. 1725–1780, British, undated, Graphite, watercolor, pen and black ink, gray wash on slightly textured, medium, cream laid paper, Sheet: 17 × 13 7/8 inches (43.2 × 35.2 cm

A View on the Orwell, attributed to John Constable, 1776–1837, British, circle of John Linnell, 1792–1882, British, undated, Watercolor, pen and black ink, and graphite on moderately thick, slightly textured, cream wove paper, Sheet:

Design for an Illustration for Walter Scott's 'Lady of the Lake', Loch Achray, Joseph Mallord William Turner, 1775–1851, British, ca. 1832, Watercolor, graphite, and pen and brown ink on medium, slightly textured, cream wove paper,

Pirates, John Massey Wright, 1777–1866, British, undated, Watercolor with graphite on medium, slightly textured, cream wove paper, Sheet: 9 1/2 × 11 5/8 inches (24.1 × 29.5 cm

Norwich, John Varley, 1778–1842, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, mounted on moderately thick, smooth, beige wove paper, Sheet: 11 7/8 x 11 1/2 inches (30.2 x 29.2 cm), arches,

Guisborough Priory, follower of Thomas Girtin, 1775–1802, British, undated, Watercolor over graphite on medium, moderately textured, beige, laid paper, Sheet: 11 15/16 x 20 1/8 inches (30.3 x 51.1 cm), architectural subject, cattle,

A Tug Vessel, George Jackson, active 1839–1844, undated, Watercolor, with pen, in brown ink, graphite, gouache and scratching out on medium, smooth, cream, wove paper, Sheet: 3 3/8 × 4 1/4 inches (8.6 × 10.8 cm) and Image: 2 1/8 × 3

Study of Figures at Ulm, Samuel Prout, 1783–1852, British, undated, Graphite and watercolor on moderately thick, slightly textured, blued white wove paper, Sheet: 3 5/16 x 4 7/16 inches (8.4 x 11.2 cm), baskets, dresses, figure study,

View of Kensington Palace from across the Round Pond, William Evans of Bristol, 1809–1858, British, 1832, Pen, ink, watercolor, and gouache with scratching out on moderately thick, slightly textured, cream wove paper, Sheet: 8 5/8 × 14

Memorial to Sir William Herbert 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: 14

Aquaduct at Segovia, Spain, Edward Alfred Goodall, 1819–1908, British, undated, Watercolor, graphite and gouache on thick, moderately textured, cream wove paper, Sheet: 10 1/4 × 18 inches (26 × 45.7 cm), architectural subject

One of a Group of Three Studies of Gondolas, Myles Birket Foster, 1825–1899, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 1 1/4 × 1 1/2 inches (3.2 × 3.8 cm), boat, genre subject,

Running before the Wind, François Louis Thomas Francia, 1772–1839, French, active in Britain, undated, Watercolor over graphite on medium, slightly textured, cream laid paper, Sheet: 5 3/4 x 3 3/4 inches (14.6 x 9.5 cm), marine art,

On the Wye, Rev. William Warren Porter, 1776–1804, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 8 × 12 7/8 inches (20.3 × 32.7 cm), landscape, mountain, river, trees, England,

A Chinese Girl, unknown artist, (possibly German?), after William Alexander, 1767–1816, British, undated, Watercolor and pen and black ink over graphite on moderately thick, moderately textured, blued white laid paper, Sheet: 6 5/8 × 4

Jerusalem, Plate 66, 'In awful pomp & gold....', 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:

A Cave in Sunlight, with Figures, William Payne, active 1850s, British, 1825, Watercolor, gouache, and pen and black ink on thick, slightly textured, cream wove paper, Sheet: 8 3/8 × 12 1/4 inches (21.3 × 31.1 cm

Memorial to Inyr Burgess, from East Ham Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and black ink over graphite on medium, slightly textured, cream wove paper, Sheet: 15 × 10 5/8 inches

Castle Acre Priory, Norfolk, John Sell Cotman, 1782–1842, British, ca. 1804, Watercolor and graphite on medium, moderately textured, beige wove paper, Sheet: 14 5/8 x 11 inches (37.1 x 27.9 cm), architectural subject, bulls (animals),

Wanstead Grove, Essex, 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

Wapping Old Stairs, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and red-brown ink over graphite on medium, smooth, blued white, wove paper, Sheet: 4 1/2 x 7 inches (11.4 x 17.8 cm), boats, buildings, doorway,

Windsor Castle View - King George IV Gate and the Round Tower, July 28, 1832, 11:30 am, Dr. William Crotch, 1775–1847, 1832, Graphite and watercolor on medium, smooth, blued white, laid paper, Mount: 10 3/8 × 12 3/8 inches (26.4 × 31.4

Single Corvette. Bow Forward, Joseph Cartwright, c.1789–1829, British, undated, Watercolor, pen and black ink, gray ink and graphite on medium, slightly textured, cream, wove paper, mounted on, moderately thick, slightly textured,

A Cat and Chickens, Newton Limbird Smith Fielding, 1799–1856, British, 1833, Watercolor, pen and brown ink over graphite with scratching out on medium, slightly textured, cream wove paper, Sheet: 7 × 10 1/8 inches (17.8 × 25.7 cm),

Allegorical Designs for Medals, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, undated, Watercolor, with pen and black ink, over graphite on medium, moderately textured, cream, laid paper, mounted on,

Shelaal, 2:30 am, 29 January 1867 (260), Edward Lear, 1812–1888, British, 1867, Watercolor with pen in black ink and gouache over graphite on moderately thick, slightly textured wove paper mounted on thick, moderately texured, cream wove

A Yorkshire Farm, attributed to Peter DeWint, 1784–1849, British, undated, Watercolor on medium, moderately textured, beige, wove paper, Sheet: 8 5/16 × 12 1/4 inches (21.1 × 31.1 cm), cattle, clouds, cows, dogs (animals), farm,

Landscape, unknown artist, nineteenth century, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 7 3/4 × 10 7/8 inches (19.7 × 27.6 cm), landscape, trees

Hot Spice Gingerbread All Hot, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and gray and red-brown ink over graphite on medium, smooth, cream wove paper, Sheet: 4 3/16 x 2 3/4 inches (10.6 x 7 cm), aprons (main

Cave of the Golden Calf: Study for Mural of Calf and Worshipping Figures, Spencer Frederick Gore, 1878-1914, British, 1912, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/2 x 18 inches (8.9 x 45.7 cm),

New Shoes, Thomas Rowlandson, 1756–1827, British, undated, Watercolor with pen and brown and gray ink over graphite on medium, smooth, wove paper, Mount: 6 11/16 x 8 1/2 inches (17 x 21.6 cm) and Sheet: 4 3/4 x 6 7/16 inches (12.1 x 16.4

Pan, Spying, From Behind a Tree, at Putti, Shooting Arrows, Robert Smirke, 1752–1845, British, and / or Mary Smirke, 1779–1853, British, undated, Watercolor, pen and red ink, over graphite on medium, moderately textured, beige,

View of the Theater and Plan of the Ionic Temple at Sardis, Giovanni Battista Borra, 1713–1770, Italian, ca. 1750, Watercolor with black and brown ink and gray wash over graphite on moderately thick, moderately textured, cream laid paper

Elevation of a Proposed Design for King's College, Cambridge, William Wilkins, 1778–1839, British, ca. 1825, watercolor, pen and black ink on slightly textured, thick, brown wove paper, Sheet: 11 7/8 × 24 1/8 inches (30.2 × 61.3 cm),

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: Milton, unknown artist, nineteenth century, undated, Graphite, watercolor, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 32 3/4 × 25

Young's Night Thoughts, Page 19, 'Emblem of That Which Shall Awake the Dead', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper,

Memorials to Lady Letitia Poinez and Robert Cooper from Harlington 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: 15

Essex Landscape, Thomas Churchyard, 1798–1865, British, undated, Watercolor and graphite on moderately thick, moderately textured, cream laid paper, Sheet: 7 7/8 x 11 1/2 inches (20 x 29.2 cm), clouds, fields, hills, landscape, trees,

Euphorbia abyssinica J.F. Gmel. (Ethiopian Tree-Spurge): finished drawing of the tree's habit, Luigi Balugani, 1737–1770, Italian, undated, Watercolor, gouache, and graphite on moderately thick, slightly textured, cream laid paper, Sheet:

One of Five Ceiling Designs, John Sanderson, active 1730–died 1774, British, undated, Watercolor with pen and black and gray ink on medium, slightly textured, beige wove paper, Sheet: 4 1/16 x 6 13/16 inches (10.3 x 17.3 cm), acanthus,

Chepstow Castle, Edward Francis Burney, 1760–1848, British, undated, Pen and black ink and watercolor on medium, slightly textured, cream laid paper, Sheet: 8 1/8 × 11 1/4 inches (20.6 × 28.6 cm), boat, bridge (built work), castle,

Castle on a Cliff with Stormy Sea, William Callow, 1812–1908, British, active in France, undated, Watercolor with graphite on cream, medium, moderately textured, wove paper, Sheet: 8 3/4 x 13 13/16 inches (22.2 x 35.1 cm), architectural

Brass Plate for Dame Margaret Dalett and Ellen Berney, from Beckenham 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,

Portrait of a Gentleman, John Smart, 1741–1811, British, 1766, Watercolor and gouache on ivory, Image: 1 3/8 x 1 inches (3.5 x 2.5 cm) and Frame: 3 1/4 x 2 1/4 x 1/2 inches (8.3 x 5.7 x 1.3 cm), portrait

A Durbar Scene, Poona, October 3, 1792, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream wove paper, Sheet: 4 1/2 × 6 1/16 inches (11.4 × 15.4 cm), armor,

The Colleoni Statue, Venice, James Holland, 1799–1870, British, ca. 1845, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 5/8 × 4 5/8 inches (21.9 × 11.7 cm), architectural subject, buildings, figures,

Amada, 9:30 am, 12 February 1867, Edward Lear, 1812–1888, British, 1867, Watercolor, pen and brown ink, and graphite on thick, rough, cream wove paper, Sheet: 4 7/8 x 13 3/4 inches (12.4 x 34.9 cm), architectural subject, desert,

An Oak in Englefield Park, Robert Hills, 1769–1844, British, undated, Watercolor and graphite on medium, moderately textured, cream wove paper, Sheet: 7 5/8 x 9 5/8 inches (19.4 x 24.4 cm), tree, Berkshire, England, Englefield, United

Valle Crucis Abbey, Denbighshire, Thomas Girtin, 1775–1802, British, ca. 1799, Watercolor and graphite with pen and brown ink on medium, moderately textured, beige laid paper, Sheet: 9 3/4 x 12 1/4 inches (24.8 x 31.1 cm), abbey,

Songs of Innocence and of Experience, Plate 47, 'My Pretty Rose Tree' (Bentley 43), William Blake, 1757–1827, British, 1794, Color-printed relief etching with watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 7

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1834, graphite and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 17 1/8 × 13 5/16 inches (43.5 × 33.8 cm), architectural

Two Girls Playing, 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,

The Basket Maker, John Gantz, 1772–1853, 1828, Pen and black ink and watercolor on medium, slighlty textured, cream wove paper mounted to card, Sheet: 6 1/2 × 9 1/8 inches (16.5 × 23.2 cm) and Mount: 8 7/8 × 11 1/4 inches (22.5 × 28.6

The Poems of Thomas Gray, Design 65, '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

French Coast Scene with Fisherboy, James Duffield Harding, 1798–1863, British, 1829, Watercolor, pen and brown ink, pen and red ink, pen and gray ink, graphite, and gouache on moderately thick, slightly textured, cream wove paper,

Foxhunting: Full Cry, Henry Thomas Alken, 1785–1851, British, undated, Watercolor, pen and black ink, graphite and gouache on medium, slightly textured, cream, wove paper, Sheet: 9 5/16 × 12 3/8 inches (23.7 × 31.4 cm), dogs

Netting a Salmon Pool, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and brown ink and pen and gray ink on medium, slightly textured, cream wove paper, Sheet: 6 1/2 x 10 1/8 inches (16.5 x 25.7 cm),

Tintern Abbey, Joseph Clarendon Smith, 1778–1810, British, undated, Watercolor on medium, slightly textured, cream wove paper mounted on thick card, Sheet: 12 x 9 1/4in. (30.5 x 23.5cm) and Sheet: 12 × 9 3/8 inches (30.5 × 23.8 cm),

A Magpie, John Bewick, 1760–1795, British, undated, Watercolor, graphite and pen and black ink on medium, slightly textured, cream laid paper mounted to moderately thick, slightly textured, cream wove paper, Sheet: 8 × 12 1/4 inches

Hackney Grammar School, M. A. Gliddon, active 1840, British, 1844, Watercolor over graphite on wove paper with wash mat laid down to sheet, Sheet: 7 1/2 x 9 13/16in. (19.1 x 24.9cm

The South Foreland and Shakespeare's Cliff (one of five drawings on one mount), John Thomas Serres, 1759-1825, British, undated, Pen and brown ink, watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 3 x 10 3/8

Mountain Scene, Mist Rising, unknown artist, style of Joseph Mallord William Turner, 1775–1851, British, undated, Watercolor and graphite on moderately thick, slightly textured, white wove paper, Sheet: 9 x 11 7/8 inches (22.9 x 30.2 cm),

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