Images at Librifly

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Riders Taking a Fence, Samuel Henry Gordon Alken, 1810–1894, British, undated, Watercolor, with pen, in brown ink and black ink and graphite on medium, slightly textured, blued white, wove paper, Sheet: 8 1/4 × 11 3/4 inches (21 × 29.8

The Tank, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper and medium, slightly textured, cream wove paper, Sheet: 3 1/4 × 13 7/8 inches (8.3 × 35.2

Tarifa Point, Spain and Mons Abyla, Africa, George Lothian Hall, 1825–1888, British, 1843, Watercolor and graphite on thick, moderately textured, cream wove paper, Sheet: 6 1/4 × 10 inches (15.9 × 25.4 cm), marine art, mountains,

Caerlaverock Castle Entrance Gateway and Flanking Towers, Robert William Billings, 1813–1874, British, 1848, Watercolor, graphite, and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 8 5/8 × 7 1/4 inches (21.9 ×

Impatiens rothii Hook. f. (Balsam): finished drawing of flowering plant, 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

Rendezvous Island, Solomon Islands, Lt. James George, ca. 1755–1795, ca. 1812, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 18 1/2 × 25 5/8 inches (47 × 65.1 cm

Mountains Near St. Johann, Austria, Sir Robert Smirke the younger, 1781–1867, British, 1802-1804, Watercolor, gray wash, blue wash and graphite on moderatly thick, moderately textured, beige, wove paper, Sheet: 4 5/8 × 7 3/4 inches

The First Book of Urizen, Plate 6, 'In living creations appear'd . . . .' (Bentley 5), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in green with watercolor on moderately thick, slightly textured,

Salmon Spearing, Julius Caesar Ibbetson, 1759–1817, British, undated, Watercolor, pen and black ink, gray ink, graphite, and gouache on medium, smooth, blued white, wove paper, Sheet: 8 9/16 × 11 1/4 inches (21.7 × 28.6 cm), boat,

Apple, Grapes and a Cob-Nut, William Henry Hunt, 1790–1864, British, ca. 1850, Watercolor and gouache over graphite on moderately thick, slightly textured, cream wove paper, Sheet: 5 x 7 3/8 inches (12.7 x 18.7 cm), apple, botany, dirt,

Memorials to Martha Ogle, and to Sir Thomas Kinsey and his grandchildren Rober and Elizabeth Kinsey of Fulham Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on

Junk Ship Employed Against Gibralter..Single Junk Ship, Joseph Cartwright, c.1789–1829, British, 1782, Watercolor, pen and black ink, gray ink and graphite on medium, slightly textured, beige, wove paper, mounted on, moderately thick,

York Watergate and Westminster Bridge, John Inigo Richards RA, 1730/31?–1810, British, 1796, Watercolor, and pen and black ink over graphite on medium, slightly textured, cream laid paper, Sheet: 13 7/8 × 20 1/8 inches (35.2 × 51.1 cm

Elevation of a Proposed Design for Cambridge Colleges, William Wilkins, 1778–1839, British, undated, Graphite, watercolor, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 15 1/2 × 23 3/4 inches (39.4 ×

An Illustration of C.J. Apperley ('Nimrod'), 'The Life of a Sportsman': 'A Night Scene with Sir Thomas Mostyn', Henry Thomas Alken, 1785–1851, British, 1842, Watercolor over etched outline, with gouache on medium. slightly textured, blued

Red-capped Parakeet (female), unknown artist, nineteenth century, after Edward Lear, 1812–1888, British, 1832, Watercolor and pen and black ink on wove paper, Sheet: 18 x 14in. (45.7 x 35.6cm), animal art, bird, branch, female, leaves

Mrs. Ellen Devis, William Wood, 1768–1809, British, undated, Watercolor and gouache on ivory, Image: 3 x 2 1/2 inches (7.6 x 6.4 cm) and Frame: 3 7/8 x 2 3/4 x 1/2 inches (9.8 x 7 x 1.3 cm), portrait

Boschbeek & Gorenendaal: View from Turret towards fin du Haarlemmesmeer, Leiden, Bennenbrock, and Hillegom, Gerrit Jan Schouten, Born 1815, Dutch, undated, Watercolor on textured, moderately thick, cream wove paper, Sheet: 10 3/8 × 14 1/2

Quagga Zebra, James Sowerby, 1756–1822, British, James de Carle Sowerby, 1787–1871, British, or Charles E. Sowerby, 1795–1842, British, ca. 1824, Watercolor and graphite with pen and black ink on medium, smooth, cream wove paper,

A French Dragoon, Sir Robert Kerr Porter, 1777–1842, British, ca. 1810, Watercolor and pen and black ink over graphite on medium, slightly textured, cream wove paper, Sheet: 17 3/8 × 14 1/2 inches (44.1 × 36.8 cm), horses (animals),

Between Netley Heath and Albury, Robert Hills, 1769–1844, British, undated, watercolor and graphite on medium, beige, moderately textured wove paper, Sheet: 7 1/2 x 10 1/4 inches (19.1 x 26 cm), clouds, hills, landscape, trees, Albury,

Pass through the Andes, Lt. William Smyth, 1813–1878, undated, Watercolor, pen and black ink, white gouache, and graphite on medium, slightly textured, beige wove paper, Sheet: 10 3/16 x 14 1/8in. (25.9 x 35.9cm) and Sheet: 10 1/8 × 14

Man Playing a Harp, James Bruce, 1730–1794, British, undated, Watercolor and graphite on medium, moderately textured, beige laid paper, Sheet: 7 3/8 × 5 5/8 inches (18.7 × 14.3 cm) and Mount: 11 3/8 × 9 1/4 inches (28.9 × 23.5 cm),

The Hall, Rugby School, John Gendall, 1790–1865, British, undated, Watercolor, graphite, pen and black ink and white gouache on medium, moderately textured, cream wove paper mounted to card, Sheet: 8 1/4 × 10 7/8 inches (21 × 27.6 cm),

The Infant Balthasar Carlos, Hercules Brabazon Brabazon, 1821–1906, British, after Diego Velázquez, 1599–1660, Spanish, undated, Watercolor and gouache with pen and brown ink over graphite on moderately thick, slightly textured, beige

Portrait of a Lady called Miss Barclay, George Engleheart, 1753–1829, British, 1808, Watercolor and gouache on ivory, Image: 3 1/8 x 2 1/2 inches (7.9 x 6.4 cm) and Frame: 4 1/8 x 3 x 1/4 inches (10.5 x 7.6 x 0.6 cm), portrait

Shadwell by the Ship Inn, George Shepheard, ca. 1770–1842, British, undated, Watercolor, pen and gray ink on medium, slightly textured, cream wove paper, Sheet: 10 5/8 × 8 3/8 inches (27 × 21.3 cm), architectural subject

Songs of Innocence and of Experience, Plate 35, 'Earth's Answer' (Bentley 31), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching with watercolor on moderately thick, slightly textured, cream wove paper,

The Cloisters of a Monastery, Thomas Rowlandson, 1756–1827, British, undated, Watercolor and graphite with pen and red ink and pen and gray ink on medium, smooth, cream wove paper, Sheet: 4 7/8 x 7 7/8 inches (12.4 x 20 cm), archways,

The Waterfall of Doomar Leyna, Dry Except in Rains, Attributed to Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, undated, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream laid paper, Sheet: 11 × 33

Sir Violet Sighaway & Mr. Villiers, J. Findlay, active 1825–1857, undated, Pen and black ink, graphite and watercolor on medium, slightly textured, cream wove paper mounted to card, with attached offset print, Sheet: 3 1/2 × 6 inches (8.9

A Collection of Surveys of Scottish Estates of the Earl of Selkirk: North Nunton; South Nunton, unknown artist, undated, Graphite, watercolor, gray wash, pen and black ink on slightly textured, moderately thick, cream wove paper, Sheet: 12

The Head of Ullswater, With the Lodge of Patterdale on the Left, Thomas Sunderland, 1744–1828, British, formerly John Robert Cozens, 1752–1797, British, ca. 1790, Watercolor and graphite on medium, slightly textured, cream laid paper,

The North Front of St. Paul's, Thomas Malton the Younger, 1748–1804, British, 1785, Watercolor, pen and black ink, and graphite on thick, moderately textured, cream laid paper, Sheet: 27 1/8 × 38 1/8 inches (68.9 × 96.8 cm

Refreshment at St. Giles, Charles Ansell, ca.1752–active 1790, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 8 × 9 1/4 inches (20.3 × 23.5 cm

The Old Bridge in Devon, Thomas Girtin, 1775–1802, British, between 1797 and 1801, Watercolor, pen and brown ink, gouache and graphite on medium, moderately textured, beige laid paper, Sheet: 8 5/8 × 11 5/8 inches (21.9 × 29.5 cm),

Remains of the Temple of Olypian Jove with a View of Ortygia, Syracuse, Henry Tresham, 1751–1814, British, undated, Watercolor, graphite, and pen and black ink on moderately thick, slightly textured, cream laid paper, Sheet: 12 1/2 x 19

Saint Michael's Mount, Cornwall, John Warwick Smith, 1749–1831, British, undated, Watercolor over graphite on medium, slightly textured, cream wove paper, Sheet: 5 3/8 x 8 3/8 inches (13.7 x 21.3 cm) and Contemporary drawn border: 8 1/4 x

Landlord and Tenant, George John Pinwell, 1842–1875, British, 1871, Watercolor and gouache on moderately thick, slightly textured, cream wove paper, Sheet: 16 × 22 5/8 inches (40.6 × 57.5 cm), basket, chair, children, fireplace,

Illustrations from Mr. Lambkin, plate 16, Print made by George Cruikshank, 1792–1878, British, undated, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

Evening Sky on the Coast, James Holland, 1799–1870, British, between 1859 and 1861, Watercolor, graphite and white gouache on medium, slightly textured, cream laid paper, Sheet: 4 1/4 × 6 3/4 inches (10.8 × 17.1 cm), abstract art,

Europe. A Prophecy, Plate 10, 'Enitharmon slept . . . . ' (Bentley 12), 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,

A Page Boy in Blue with a Red Shield, Mather Brown, 1761–1831, American, active in Britain, undated, Pen and black ink, gouache and watercolor on medium, moderately textured, cream laid paper, Sheet: 7 × 5 inches (17.8 × 12.7 cm), boy,

Bathing Place, Anstey's Cove, Charles Reginald Aston, 1832–1908, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Frame: 18 1/2 × 26 × 1 inches (47 × 66 × 2.5 cm) and Sheet: 10 3/4 × 17 3/4

Young's Night Thoughts, Page 1, 'Swift on His Downy Pinion Flies from Woe', Print made by William Blake, 1757–1827, British, 1797, Etching and line engraving with watercolor on moderately thick, slightly textured, cream wove paper, Spine:

Design for Grosvenor House, London: Plan, Thomas Cundy, 1790–1867, British, 1829, Graphite, pen and black ink and watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 25 3/4 × 18 7/8 inches (65.4 × 47.9 cm),

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

Memorial to Bright Hemming, from Acton Church, Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium, slightly textured, cream wove paper, Sheet: 14 3/4 × 10 7/8

Mourning at a Tomb, William Alexander, 1767–1816, British, between 1792 and 1794, Watercolor with pen and black ink over graphite on medium, slightly textured, cream wove paper, Sheet: 8 1/2 × 6 1/2 inches (21.6 × 16.5 cm), candles,

Sketch of Mahaji Sindia in his Tent, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 4 3/4 × 5 1/2 inches (12.1 × 14 cm), genre subject,

Castle Fraser, Aberdeenshire, Scotland: Ground Plan, William Wilkins, 1778–1839, British, 1819, Graphite, pen and black and brown ink, watercolor on slightly textured, moderately thick, cream wove paper, Sheet: 12 1/8 × 17 1/2 inches

Putney Church and Bridge, Samuel Hieronymus Grimm, 1733–1794, Swiss, 1772, Watercolor with gray ink over graphite on medium, slightly textured, cream laid paper, Contemporary drawn border: 9 1/4 x 12 inches (23.5 x 30.5 cm) and Sheet: 7 5/8

Harbour, Hamburg from the Elbe, Alfred Gomersal Vickers, 1810–1837, British, undated, Graphite and watercolor on medium, slightly textured, cream wove paper, Sheet: 8 3/8 × 14 3/8 inches (21.3 × 36.5 cm

Views in the Levant: Ruined Flat Archway, Attributed to Willey Reveley, 1760–1799, British, ca. 1785, Watercolor, with pen in gray ink, over graphite on medium, slightly textured, cream, laid paper, mounted on thick, smooth, brown,

Portrait of a Lady, George Engleheart, 1753–1829, British, 1801, Watercolor and gouache on ivory, Image: 3 1/4 x 2 5/8 inches (8.3 x 6.7 cm) and Frame: 4 1/4 x 3 x 5/8 inches (10.8 x 7.6 x 1.6 cm), portrait

A Pool with Figures, George Chinnery, 1774–1852, British, 1839, Watercolor, gouache and graphite on medium, slightly textured, beige wove paper mounted to card, Sheet: 11 3/8 x 8in. (28.9 x 20.3cm) and Mount: 14 3/8 × 9 1/4 inches (36.5

Garden Temple, Wanstead Grove, 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) and Image: 7 × 9 1/4 inches

S. Pietro Degli Agostiniani. Leonessa., Edward Lear, 1812–1888, British, 1844, Watercolor, graphite, brown wash, pen and brown ink on moderately thick, slightly textured, beige wove paper, Sheet: 9 7/8 x 9 11/16 inches (25.1 x 24.6 cm),

North Front of Temple Hall, Samuel Ireland, active 1760–died 1800, British, between 1794 and 1800, Watercolor, graphite, and pen and black ink on medium, slightly textured, cream wove paper, Sheet: 5 × 6 1/2 inches (12.7 × 16.5 cm) and

St. Tago Scene, Robert Mabon, died 1798, British, undated, Watercolor and graphite with pen and black ink on medium, slightly textured, cream laid paper, Sheet: 7 5/8 × 9 1/2 inches (19.4 × 24.1 cm

Design for a Small Gothic Church: Section, Studio of Sir Jeffry Wyatville, 1766–1840, British, undated, Graphite, pen and black ink, watercolor on slightly textured, medium, cream wove paper, Sheet: 12 5/8 × 16 1/8 inches (32.1 × 41

Views in the Levant: A Ruined Byzantine Church, Willey Reveley, (?), 1760–1799, British, ca. 1785, Watercolor, over graphite, with pen in brown ink on medium, moderately textured, cream, laid paper, mounted on moderately thick,

Hay Wagons, Peter DeWint, 1784–1849, British, undated, Watercolor over graphite on medium, cream, rough wove paper, mounted on thick, smooth, cream, wove paper, Sheet: 3 11/16 × 5 1/16 inches (9.4 × 12.9 cm), Contemporary drawn

Camp at Chobham, 1853 with Officers and Sentry, George Bryant Campion, 1796–1870, British, 1853, Watercolor, pen and black ink, gouache, black chalk, gum arabic, and graphite on moderately thick, moderately textured, gray, wove paper,

Gray Fox, Charles Hamilton Smith, 1776–1859, Belgian, ca. 1837, Watercolor, pen and black ink, blue ink, red ink and graphite on moderately thick, slightly textured, white, wove paper, Sheet: 4 13/16 × 7 7/16 inches (12.2 × 18.9 cm),

The Gentlemen who Never Sleep, Print made by Hablot Knight Browne, 1815–1882, British, 1841, Etching with hand coloring in watercolor on medium, slightly textured, cream wove paper

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

The Temple at Ekvera, Gangaram Chintaman Tambat, active 1790s, Anglo-Indian, ca. 1793, Gray wash, watercolor, pen and black ink, and black chalk on medium, slightly textured, cream laid paper, Sheet: 25 1/4 × 33 1/4 inches (64.1 × 84.5

A Summerhouse in the Rustic Style, Jonathan Fisher, ca. 1760–1809, Irish, 1795, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 5 7/8 × 9 5/8 inches (14.9 × 24.4 cm) and Mount: 8 3/8 × 12 1/8 inches (21.3

Dakkeh, Edward Lear, 1812–1888, British, 1867, Watercolor, graphite, pen and brown ink on thick, rough, wove paper, mounted on thick, smooth, cream wove paper, Sheet: 2 5/16 x 6 7/8 inches (5.9 x 17.5 cm), boats, hill, landscape,

The Adoration of the Magi, a Design for Bas Relief, John Flaxman, 1755–1826, British, undated, Graphite, gray wash, and watercolor on medium, slightly textured, cream wove paper, Sheet: 11 1/8 x 18 inches (28.3 x 45.7 cm), adoration of

The Poems of Thomas Gray, Design 79, '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

A Worn Out Debauchée, Thomas Rowlandson, 1756–1827, British, between 1790 and 1795, Watercolor with pen and yellow and gray-black ink on moderately thick, moderately textured, beige, laid paper, Sheet: 11 13/16 x 7 13/16 inches (30 x 19.8

Holland Estate, St. Thomas in the East, Jamaica, James Hakewill, 1778–1843, British, between 1820 and 1821, Watercolor on moderately thick, slightly textured, cream wove paper, Sheet: 12 x 16 1/2in. (30.5 x 41.9cm) and Binding: 21 3/4

The Thames from Richmond Hill Looking Southwest, John Robert Cozens, 1752–1797, British, ca. 1791, Graphite and watercolor on medium, slightly textured, cream wove paper, Sheet: 14 1/4 x 20 5/8 inches (36.2 x 52.4 cm), hills, landscape,

Near Penrith, attributed to Peter DeWint, 1784–1849, British, undated, Watercolor and graphite on medium, slightly textured, cream wove paper, Sheet: 6 1/4 x 15 3/8 inches (15.9 x 39.1 cm), clouds, grasses, hills, landscape, trees,

One from A Volume of Drawings and Prints, Rev. James Bulwer, 1794–1879, British, 1837, Pen and brown ink, watercolor, graphite on slightly textured, moderately thick, cream wove paper, Sheet: 13 1/2 × 17 1/4 inches (34.3 × 43.8 cm) and

St. Michael's Mount, Ultrecht, Louis Haghe, 1806–1885, British, 1849, Watercolor, white gouache, graphite and gum arabic on thick, slightly textured, beige wove paper, Sheet: 16 1/8 × 12 3/8 inches (41 × 31.4 cm), architectural

Dust Storm Coming On, near Jeypore, Rajpootana, William Simpson, 1823–1899, British, 1863, Watercolor and gouache over graphite on moderately thick, moderately textured, beige wove paper, Sheet: 14 × 20 inches (35.5 × 50.8 cm),

Landscape with two figures in the foreground, Peter Tillemans, 1684–1734, Flemish, active in Britain (from 1708), undated, Watercolor on medium, slighlty textured, cream laid paper, Sheet: 3 7/8 × 10 1/16 inches (9.8 × 25.6 cm),

Opposite Abu Girgeh, 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 7 5/16 inches (4.6 x 18.6 cm), birds, geese, landscape,

The Poems of Thomas Gray, Design 89, 'The Triumphs of Owen.', 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

Tomb With Seated Lady, Supporting Herself on an Urn, Joseph Nollekens, 1737–1823, British, undated, Watercolor and graphite on medium, slightly textured, cream laid paper, Sheet: 5 1/8 × 4 1/2 inches (13 × 11.4 cm), anchor, genre

The First Book of Urizen, Plate 7, 'As the stars are apart from the earth . . . .' (Bentley 6), Print made by William Blake, 1757–1827, British, 1794, Color-printed relief etching in green with watercolor on moderately thick, slightly

At La Posta, David Allan, 1744–1796, British, born in Scotland, undated, Watercolor, pen, and black ink on moderately thick, slightly textured, cream wove paper, Sheet: 9 1/2 × 7 1/4 inches (24.1 × 18.4 cm

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 gouache on medium, slightly textured, gray wove paper, Sheet: 6 5/8 ×

St. George's Chapel and The Castle Wall From Bier Lane, July 18, 1832, 1 pm, Dr. William Crotch, 1775–1847, 1832, Graphite, watercolor and gouache on medium, slightly textured, cream, wove paper, Mount: 13 7/16 × 10 3/8 inches (34.1 ×

Views in the Levant: Harbour Town Surrounded by Windmills, Willey Reveley, (?), 1760–1799, British, ca. 1785, Watercolor, pen and black ink, gray ink, and graphite on medium, slightly textured, cream, laid paper, mounded on thick,

Heston Churchyard with and Artist Sketching the Tomb Stones, 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

Landscape with train, Edward W. Fitch, active 1839–1867, 1854, Watercolor, graphite and gum arabic on medium, slighlty textured, beige wove paper, Sheet: 5 × 6 1/2 inches (12.7 × 16.5 cm), landscape, locomotive, steam, tracks, train

Landscape including St. Pauls, St Nicholas, Town Hall, St. John's, St. Luke's, Edge Hill, St. James' Walk, Cemetary, Flag Ship, and Foxeth Park, Anne Rushout, ca. 1768–1849, British, 1824 to 1832, Watercolor on moderately thick,

Concealing Charles II, Julius Caesar Ibbetson, 1759–1817, British, undated, Pen, ink and watercolor on medium, slightly textured, beige wove paper, Sheet: 2 3/8 × 3 inches (6 × 7.6 cm), forest, genre subject, horses (animals), men,

Landscape with Gypsies and Wagon, follower of David Cox, 1783–1859, British, mid-19th century, Watercolor and graphite on medium, slightly textured, white wove paper, Sheet: 4 5/8 x 6 3/4 inches (11.7 x 17.1 cm), clouds, dog (animal),

A Review in a Market Place, Thomas Rowlandson, 1756–1827, British, ca. 1790, Watercolor with pen and gray and black ink on cream, moderately thick, moderately textured, wove paper, mounted on moderately thick, moderately textured, brown,

The Buck-Basket. A scene from the Merry Wives of Windsor, Print made by Henry Heath, active 1824–1835, British, Print made by Thomas McLean, 1788–1875, British, 1827, Etching with hand coloring in watercolor on medium, slightly textured,

Memorial to Honoria Cason, Nathaniel, Thomas, Hannah and Honoria White from Greenford Church, Attributed to Daniel Lysons, 1762–1834, British, between 1796 and 1811, Pen and black ink, watercolor and gouache over graphite on medium,

A Country Lane, James Miller, active 1773–1814, undated, Watercolor and graphite on medium, moderately textured, blued white, laid paper, Sheet: 6 3/8 × 7 13/16 inches (16.2 × 19.8 cm), architectural subject, fields, landscape, road,

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 3/16 × 9 3/4 inches (18.3 × 24.8 cm),

St. Paul's Church, Covent Garden, after the fire, Edward Dayes, 1763–1804, British, 1795, Watercolor, pen and black ink, and graphite on medium, slightly textured, cream wove paper, Sheet: 3 1/2 × 5 5/8 inches (8.9 × 14.3 cm),

Casade de Lys From Below, James Duffield Harding, 1798–1863, British, 1834, Watercolor, graphite, and gouache on moderately thick, slightly textured, gray wove paper, Sheet: 14 1/2 x 10 5/8 inches (36.8 x 27 cm), hill, mountain, Lys

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